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PURCHASED FOR THE 

UNIVERSITY OF TORONTO LIBRARY 

FROM THE 

CANADA COUNCIL SPECIAL GRANT 

FOR 

DRAMA 



THE THEATRE 



llustrated Monthly Magazine of Dramatic and Musical Art 



VOL. XVIII, 1913 




NEW YORK 

THE THEATRE MAGAZINE COMPANY 

PUBLISHERS 
8-10-12-14 West Thirty-eighth Street 



-p/v 
aooo 

T5- 
V.IS 



CONTENTS 




Actress Manager, A Famous, by Marc Loge.... 
Advertising the Play with the "Punch, by 



PAGE 
4 



Robert Grau 
Anecdotes of the Stage 



Dec. xxxi 
52 



necos ....... : -, v, 

An Optimist of the Stage, by Ada Patterson. ... 198 

Author at a "First Night,:' The, by G. C. J.... 

Author of "The Lure," The, by F. C Fay... . 12* 

Bates, Blanche, A Chat with, by Wendell Phillips ^ 

Big Earnings "of Big piays, by X. X ........ .. 150 

Burbank Theatre, The ....... .......... * x 



190 
' 



uran , ....... ......... 

Cabaret Booking Agency, The, by Yetta Dorothea 

Coining e Admiration" Worth' Half a Million 

Year, by William De Wagstaffe 
Comic Opera Old Timers, by G. C. J 
Decline of Acting, The, by C. A. ....... ..... . M 

Decline of the French Drama, by Harry J. 

Greemvall ........................... Oct. xvn 

"Dcr Rosenkavalier," Strauss' Opera. .......... * 

Early Feminine Dramatists, by Eleanor Raeburn 194 
"Evangeline" Staged, Longfellow's. ............ 1 

Fawcett, George. Apostle of the School ot sug- 

gestion, by Ada Patterson .................. 4 

Forbes-Robertson's Farewell to the Stage, by 

Marion Taylor ........................... 

FriMiistad. Olive. The Art of. by Clare P. Peeler i 
Gautier, Judith. A Chat with, by Theodore Bean B9 
Hits of the Month, by Y. D. G. 

117, 156 and Dec. xxv 
How I Portray a Woman on the Stage, by Julian 



Fltinge 
' 



56 



Hull'House Players, The. by Elsie F. Weil. .Sept. xix 
In Slock, by Harry P. Mawson ............... 

It Iss Permissable, by Sam Bernard ............. 



"Joseph and His Brethren," A Nineteenth Cen- 
tury, by Max J. Herzberg .July xx 

Kreisler and the Violin ...... ..Oct. xxiv 

Macbeth, Florence A Singer of the Royal Line 82 
Maker of Moons, A, by Grosvenor A. Parker. 

Sept. xii 
Maude, Cyril London's Foremost Comedian, by 

Ada Patterson 1' 

Memories of Mummers, by Jesse G. Clare 25 

Moliere, A Lesson From, by R. Calhoun 10 

Most Successful Operetta Ever Heard Here, by 

Rudolph Aronson T." 

New Stars of Next Season Sept. xxni 

New York's Newest Theatres 146 

"Oedipus" Acted in the Ruins of a Roman Am- 
phitheatre, by C. I. D 21 

()'.\\il, Peggy, The Romance of 1] 

Opening of the Season 

Opera, At the 1 

Opera at the Century Theatre, Popular 131 

Opera, The I 82 

Our Fashion Department: 

July, by F. A. Brown xiii 

Oct , by F. A. Brown xvill 

Nov., by F. A. Brown xyiii 

Pageantry and the Drama League, by Ethel M. 

Pavlowa The Greatest Dancer of Her Generation 162 
Philadelphia's Little Theatre, by Herman L. Dieck f 

Players I Have Known, by H. P. Goddard 70 

Players Who Have Inherited the Talent of Their 

Parents, by George C. Jenks 

Polaire the Magnetic, by F. C. F ! 

Police Stop Two Plays, The 1 

Preparing the Stage Meal Behind the Scenes, 

by C I. D 96 



Rhea, Reminiscences of Mile., by Herself. 

40, 104, 137 and 17 

Science and the Stage, by R. G 72 

Shakespeare After the New Manner at Harvard, 

by Francis Powell 98 

Shakespeare Made to Pay, by Montrose J. Moses 158 
Sothern and Marlowe An Estimate, by Oscar 

W. Firkins 118 

Stage Figures of the 60's and 70's, by Robert 

Grau 68 

Stage Illusions in Levitation, by W. H. Radcliffe 62 
Stage Realism of the Future, by David Belasco 86 
Strindberg The Swedish Titan, by Frances C. 

Fay 202 

"Tartarin" on the Parisian Stage, by Willis Steell 92 
Tellegen, Lou A New Scarpia, by A. R....Aug. xv 
Theatre of the Future, The As Managers See 

It, by Charles Frohman, Lee Shubert, and 

others 160 

Theatrical Jury, The, by Redfern Mason 49 

Training an Audience to Laugh, by Al Jolson.. 1:>! 
When Mabel Meets the Actors, by George C. 

Jenks 48 

Where Shakespeare Set His Stage, by Elise 

Lathrop 193 

Whose Is the Living Corpse Idea? by J. Sherrick 122 
Who Wrote "Hamlet" First? by Charlton 

Andrews 20 

Why My First Play Was a Success, by Ada 

Patterson July xii 

Why Stage Modesty Should Prevail in Musical 

Comedy 93 

Woman's National Theatre 38 

Woman Who Made Bernard Shaw Cry, The, by 

A. P 185 

Youngest Theatrical Magnate, The, by Belden Lee 100 



Adele 

America 

At Bay 

Believe Me Xantrppe 

Der Rosenkavalier (opera).. 

Evangeline 

General John Regan 

Hamlet 

Hansel und Gretel (opera) . 

Her Own Money 

Indian Summer 

lolanthe 

Lieber Augustin 

Much Ado About Nothing. . 

Nearly Married 

Oedipus 



PACE 

127 

130 

141 

. .., 135 

. .. .200 and 201 

147 

176 

. ... .119 and 168 
. .Dec. Contents 

112 

177 

2 

.111 and Oct. xvii 

109 and 110 

124 and 125 

. 21 



Scenes from Play 

PAGE 

Ohl Oh! Delphine 1\ 

Potash and Perlmutter J; 



i'ninclhi 



197 



,,uo Vadis (motion picture) 38 and 39 

Romeo and Juliet " 

Seven Keys to Baldpate " 

Tante ] 

The Black Mask ] 

The Bride } 

The Doll Girl 

The Family Cupboard 130 and 169 

The Fight I 

The Girl and the Pennant ' 

The Great Adventure J 

The Jewels of the Madonna (opera) J 

The "Love Leash lss 



PAGE 

The Lure 83 

The Madcap Duchess 174 

The Man Inside 175 

The Marriage Game 181 

The Marriage Market 145 

The Passing Show of 1913 89 

The Poor Little Rich Girl July vi 

The Silver Wedding 105 

The Sunshine Girl 24 

The Temperamental Journey 123 

The Will 143 

To-day 178 

When Dreams Come True 101 

Where Ignorance Is Bliss H5 

Who's Who US 



Plays Reviewed 



Adele 


PAGE 

Oct. xi 


After Five 
All Aboard 


Inly xx 
Oct. xiv 


A Pair of White Gloves 
At Bay 
Beauty and the Barge 
Believe Me Xantippe 
Demi-Tasse 
Der Gute Ruf 
En Deshabille 

44th Street Mxisic Hall 
General John Regan 


. . .Nov. xv 
143 
.. .Dec. xxii 
113 

; . . ; 39 

Nov. xxiv 
Nov. xvii 
Nov. xvii 
. . Dec. xvi 
. 177 
. 146 


Hamlet 
Her Little Highness 
Her Own Money 
Indian Summer 
Kasernenluft 
Kiss Me Quick 
Lieber Augustin 
Madam President 


142 
Nov. xxii 
Oct. x 
178 
. . . .Nov. xxiv 
Oct. xiv 
Oct. xiii 
Nov. xxiv 



Miss Phoenix 

Much Ado About Nothing . . 

My Little Friend 

Nearly Married 

Nur Ein Traum 

Oh! I Say 

Ourselves 

Potash and Perlmutter 

Prunella 

Seven Keys to Baldpate 

Shadowed 

So'n Windhund 

Sweethearts 

Tante 

The Black Mask 

The Bride 

The Doll Girl 

The Escape 

The Family Cupboard 

The Fight 

The Ghost of Jerry Bundler 

The Girl and the Pennant 

The Great Adventure 



PAGE 

. .Dec. xv 

110 

. . .July xx 

112 

Dec. xx 

Dec. xx 

Dec. xviii 

115 

174 

Nov. xiv 

Nov. xxii 

Nov. xvii 

Oct. xii 

174 

Nov. xy 

Nov. xvii 

Oct. xiii 

. . . Nov. xvii 

Oct. x 

Ill 

Dec. xxii 

Dec. xii 

179 



The Little Cafe . 
The Love Leash 
The Lure 



The Madcap Duchess 

The Man Inside 

The Marriage Game 

The Marriage Market 

The Passing Show of 1913... 

The Pleasure Seekers 

The Second in Command 

The Silver Wedding 

The Smoldering Flame 

The Taming of the Shrew.. 
The Temperamental Journey 

The Tongues of Men 

The Tyranny of Tears 

The Will 

The Younger Generation 

To-day 

When Dreams Come True . 
Where Ignorance Is Bliss . . 
Who's Who 



PAGE 

Dec. xii 

Dec. xv 

Sept. xi 

178 

179 

176 

Nov. xxii 

83 

Dec. xx 

176 

83 

Nov. xxii 

Sept. xi 

114 

Dec. xvi 

14S 

143 

145 

144 

Oct. xiii 

115 

Oct. xi 



Poetry 



Ss'lor 
Prologue, by 



Parmlee 



PAGE 

t 169 

u, ~^^'m Carty Ranck 155 
Brackett 12* 



Peacock 



PAGE 

188 To Nazimova in "Bella Donna," by Anne Peacock 26 
'Anne To the Stage Heroine, by Evelyn Watson 12 



Portraits 



Aborn, Milton 
Abott, Bessie in 
Adams, Maude 



PAGE 



. 

"Rob 



---- .... ---- 
in "Chantecler" 
in "L'Aiglon" 
in "Peter Pan" 
in "Quality Street 
as Rosalind 
in "The Jesters" 

Adkins, Morton 

Alda, Frances 

Allen, Beatrice 

Allen, Joseph 

Amsden, Elizabeth' 'in 

AngllrT Marga'r'ei " .' .' . 
Ardell, Franklyn . . . 
Barrie, Sir James M 
Barrymore, Ethel 
Barry-more, John 
Barrymore, Maurice 
Bartholomae, Philip 

Tlitac Tilanrhe 

' 



78 and 



190 
190 
191 
191 
191 
132 
148 
88 



The 'jewels' of the Ma- 

.' '. '. '. '. ' ' ' ' '- ' ' ' ' 6. TO 'and 



{ 'aid 

] 

18 and 



Bates, Edna 
Bauer, Harold 
Beecher, Janet 



aV'fo'and 

. . .............. *** *" ana 

'in "Madame Butterfly" ........ 

in "Nobody's Widow 1 ' ......... 

in "The Children of the Ghetto" 
in "The Darling of the Gods"., 
in "The Girl of the Golden West" 
in "The Three Musketeers"... 
in "Under Two Flags" ........ 



.. . 



Benson, F. R ...... --: 

Berger, Rudolf, as Lohengrin 

^rS'sa^^Aii'Forjhe'Ladi 

Bernhardt. Sarah, Wreath Presented 
Boland, Mary 
Booth Theatre 

Borf Lucrezia,' 'in ' "Don" Pasquaie": 

Brady, Alice . 

Ura>lau. Sophie 

Brian. Donald ............. ' 

Broadhurst, George 

Burbank Theatre ...... . ...... 

Green Room of 
Burke, Billie , 
Calvert, Catherine 
Carle, Richard 
Carlisle, Alexandra 
Carreno, Teresa ---- 

Caruso, Enrico, in Manon 

in "Tosca" 
Casino Theatre 
Cavanagh, Lucille 
Chapine 

Cheatham, Kitty 
Claire, Ina 
Clemens, Le Roy 
Cohan, George *.. 
Collier, William, in 
Collins, Jose 

Countess of Pembroke 
Countiss, Cathrine 
Cox, Hazel 



97 



79 

' * 



22 

i 

22 

! 

22 

., 
"* 

; 

87 






: ! '. '. '. '. '. '. ' '. '. '. 1 
** 

lo'-'nA 80 
18 a 156 

Nov x 
"T * 

. . . N , ov - J 
3, 43, 79 and 189 

P 



...... 

"Who's Who 



.. ,.. 

Daboll, William S., in "Ermmie 



Dawn, Hazel 
Dean, Julia 
Delmore, Herbert 
De Rosa. Vera 



-- 

Destinn. Emmy, in Alda ..................... 

Dolly, Roszika ................................ 

Doro, Marie .............................. 

Dovey, Alice ........................... '.: ' ' '\ 

Drew! John ............................ 16 and 

Drew, Mrs ................................... 

Duchess of Newcastle .......................... 

Eagels, Jeanne ............................... 

Eddinger, Wallace ............................ 

Elaine, Mildred ............... ---- ; 

Elliot,, Gertrude in "Caesar and Cleopatr^ 

as Desdemona 

in "Hamlet" ................. 

Eltinge, Julian ............................... 

F.uhank, Lilian ............................... 

Ewell, Lois ........... ..... "aYi ........ 

in "Madama Butterfly" ........ 

Fairbanks, Douglas ................. . ......... 

Falconer, Helen ............................ ' 

Fallon, Eva ................................. 

Farnum, William ............. i,' " 1 "J Y ...... 

Farrar, Geraldine, in "Madama Butterfly ...... 

in "Manon" ................. 

Faversham, William and His Family ............ 

Fawcett, George ............................. 

Fenwick, Irene .............................. 



PAGE 

9, 80 and 179 
... 158 



Ferguson, Elsie 

Ferguson, W, J 

Fields, Lew, in "All Aboard"... 

Filkins, Grace 

Fisher, Lola 

Fiske, Mrs 

Flack, Nanette 

Flynn, Marie 

Forbes-Robertson, Sir Johnston... 

as Caesar 

as Hamlet 

Bust of 

Fovieri, Adoni 

Frederick, Pauline 

Fredericks, E. Arline 

Fremstad, Olive, in "Tosca" .... 

Friganza, Trixie 

Gadski, Johanna 

as Brunnhilde . 

Galbraith, Jean 

Gates, Eleanor 

Gautier, Judith 

Gaythorne, Pamela 

George, Grace . . . . .... . . .. 

in Half an Hour 

Gerville-Reache, Mine., as Fricka 

Gillette, William 

Glendinning, Ernest Dec. 

Goodrich, Edna 

as Evangeline 

Gordon, Kitty 



J ' 



; 


..., 
1" 





and i 

'{ 



3 5 and 81 
12 and . 



94 

. . Dec. xxv 

79 

166 

166 

198 

198 

85 and 198 

198 

176 

99 

36 

66 and 149 

61 

184 

149 

. . . Sept. xx 
. .. .July xii 

59 

90 

80 

144 
167 
78 
xxvi 
81 
147 
13 

Grand Opera" at Dallas, Texas 68 

Grey, Jane 104 and 159 

Hackett, J. H 1 

Hackett, J. K ; 

Hale, Marion < 

Hall, Pauline, in "Erminie" 

Hamper, Genevieve *J 

Handyside, Clarence 

Hardy, Sam B ,* 

Hedman, Martha J 1 

Hempel, Frieda 

Henry, Eleanor ' 

Herbert, H. E Dec. xxv 

Herbert, Jayne V V ". 

Milliard, Robert 31 and Sept. ^x 

. 183 

149 

150 

131 

. .Sept. xix 
19 and 90 

193 

193 



199 
58 

183 
11 

81 
149 



46 
117 



Hofmann, Josef , - 

Homer, Louise, in "Aida" ,;,, 

in "Boris Godunoff . . . 

Hopwood, Avery 

Howard, Kathleen 

Hull House Theatre 

Illington, Margaret 

Illyria Coast near Pola 

Illyria A Dalmatian Residence 

A Dalmatian Street 193 

Imperator, Concert Stage of S. S 154 

Irving, H. B 

Irving, Henry 

Jansen, Marie in Erminie 

Johnson, Selene 

J olivet, Rita 

Jolson, Al 

Jordan, Mary 

Kalich, Bertha 

Kane, Gail 

Kaufman, Alfred 

ane Doris ' " August Contents 

Kelly, ' Ethel Amorita 

Kemble, John Philip, as Hamlet 

King, Mollie ' v^j,;/ p- ; ng - S how'of ' 

Kingston. Morgan 

Klein, Charles 

Knowles, Priscilla , 
Kreidler, Louis, in 
Kyasht, Lydia 
La Follette, Fola . 

Larrimore, Francme *?|j 

La Rue, Grace Sent xx 

La Salle, Katharine ^P 1 - ** 

Latham, Hope 

Lee, Auriol 

Lcginska, Ethel 

Lerner, Tina ' 

L'Estrange, Julian 

Little Theatre, Philadelphia 

Lopoukowa, Lydia 

Lowelly, Berthe, in "Roma 

Macbeth, Florence 

MacDonald, Christie 

in "Sweethearts 

Mlcready, WilJianV Ch'ar'les,"as Hamlet... 

Mansfield, Ric'har'd', ' Memorial "Window to. 

Mantell, Robert 

Maple, Audrey 

Marini, Luigi 

Markey, Irene 

Marlowe, Julia 



MMU 

148 



Mathewson, Christy and Rida Johnson Young 

Matzenauer, Margarete 

Maude, Cyril 

in "Caste 

in "The Flag Lieutenant"... 

in "The Little Minister"... 

in "The Second in Command".. 105 

in "The Second Mrs. Tan- 

gueray" 

Maude, Margerey, as Cinderella 

Mayo, Margaret 

McComas, Carroll 

McKinnel, Norman 

Melba, Mme 

Meredith, Anne 

Mestayer, Harry 

Moliere 

Morris, Margaret . 
Morris, William in 

Morton, Martha 

.\a/imova, Alia 

Norman, Christine 

Ober, Margarete, as Fricka 

in "Lohengrin", 

O'Connor, Adeline 

Oliver, Clarence 

O'Neil, Peggy .................. 



16 
17 
44 

98 
134 
131 
150 
156 
132 

20 



150 

;;;;;;;;;;.".;; 27 

.'.'.'.' .'September Contents 

, 159 



Martinelli. Giovanni, in 
Mason, John 
Mason, Reginald 



. c e 

in "The Taming of the Shrew 
in "Twelfth Nfght" .......... "8 

with E. H. Sothern 

La Traviata" 



1*6 
165 
166 



1 ( 
H 

ljj 
1* 

' 

H 
J 1 
1' 

10 



July Contents 
"The Family Cupboard" ---- 



1! 



' 
1 
1' 

j 

:: :::::!! 

O'Neill, Maire ............................... Iff 

Opp, Julie ................................... ' 

Paderewski, Jgnace ........................ 

Parker, Louis N ........................... July xx 

Pavlowa, Anna ........ November Cover, 162 and II 

English home, "Ivy House"... H 
in "Amarilla" ................ 164 

in "La Fille Mai Gardee" ...... 164 

in "Orientale" ............... 164 

in "The Passing of the Swan". 1 
Sept. xx 
......................... ' 

September Cover and 159 
Osten, Eva in "Der Rosen- 



n 

Pearson, Virginia 
Pemberton, Stafford 



159 
159 
159 
90 
61 
159 
138 
82 
80 
110 
171 
20 
96 
174 
70 
11 
148 
49 

78 

'.'.'.... October Contents 



1'ickford, Mary 
Plaschke Von Der 

kavalier" 
Polaire, Mile 
Powell, Francis 
Probert, George 
Rachel, Mile 
Rejane, Mme 

in "La Savelli" 

in "Mme. Sans-Genc" 

in "Qui Perd Gagne" 
Rejane Theatre, Public Foyer of 
Rhea, Mile., as Josephine 
Ring, Blanche, in "When Claudia Smiles' 
Ristori, Adelaide, Monument 
Roberts. Theodore ............................ J 

Rushmore, Vivian ................... ...... Jt 

Russell, Annie, in "The Rivals" ...... August Cover 

Ryan, Mary ...................... x";- Sept - x 

Sanderson, Julia, in "The Sunshine Girl 
Santley, Joseph ................... ---- ,'.r%5' 

Scheidemantel, Karl, in "Der Rosenkavaher . 
Scott, Ivy ...................... 

Scotti, Signor, in "Manon Lescaut 
Short, Hassard 



200 
187 
9 
J 


' 
163 

( 



Shubert Theatre 

Skinner, Otis 

Sothern, E. A 

Sothern, E. H 



16 and 
as Macbeth .................. 

as Petruchio ................. 

as Shylock ................... 

with Julia Marlowe ........... 

02 and 



47 and 



93 

11 

21 



' 

' 

I 

; 

79 
120 
118 
li 
121 

; 
* 
*' 




Stage Illusions 

Starr, Frances 

Strauss, Richard 

Strindberg, August 

Suratt, Valeska 

Taliaferro, Edith and Mabel 

Taylor, Laurette 

Tellegen, Lou, in "Phedre" 

Tetrazzini, Mme 

Teyte, Maggie, as Cendrillon 

Thomas, Augustus 

Tinnin, Mrs. Glenna Smith 

Troutmas, Ivy 

Uncle Sam's 137th Birthday Party ..... .... 

Valli Valli in "The Purple Ro,d" ---- October Coyer 

Victor, Josephine ............................. 

Virginia, Daisey ........................... ' 

Vokes, May .................................. 1JJ 

Waldrop, Oza ............................... . 

Walker, Charlotte ...................... "7 and 1 



; 8 " 
Aug. xv 


V 
J; 
. 1 

53 and 196 
li 



121 
186 
149 
79 
51 



, 

Wallace, Regine 
Ware, Helen 
Warfield, David 
Warfield, Irene 
We-bster, Willard 
Wendell, Anna 
Whitney, Edith 
Williams, Florence 
Wilson, Francis, in 
Wood, Majorie 
Wood, Peggy 
Woods, Louise, in 
Wright, Haidee 
Wyndham, Olive 



"Erminie 



1' 
139 

' 
1Z 8 

' 



JJ 

; 



, 

11 and If 
"Stop Thief" ..... . ---- ..... 108 

Dec. xxvi 
, . . . . . ....... ] 

Young, Rida Johnson and Christy Mathewson. . 162 
Zell, Gladys ................................. H 



Year 



L 



'Ulf LAI UUL.HJ. 



VOL. XV.III. NO. 149 





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A New Dress for L'Art de la Mode 



Beginning with the October number (November 
Fashions), L'Art de la Mode will don a brand 
new dress. 

The new dress will be I 0| x 1 4 inches, instead 
of the present size, I 1 } x 1 63. 

The decrease in size enables us to give a better 
quality paper, and, by adding more pages, 
more illustrations and text. 

Before adopting this radical change, a consensus 
of opinion was taken among a number of our 
old subscribers. So strong was the vote in favor 
of the change that no doubt was left in our 
minds but that it would be of benefit to all. 

L'Art de la Mode is going to give you even 
more for your money than you have been 
getting before more than you can possibly get 
elsewhere. 

For over thirty years L'Art de la Mode has 
been known as the most authoritative fashion 
publication. Henceforth it will also be known 
as the most advanced woman's magazine. 

And with all these changes and improvements, 
the yearly subscription price remains the same. 



$3.50 a year 



35c. a copy 



(Canadian subscription $3.85 Foreign $4.25) 



L'Art de la Mode 8- 1 4 West 38th St., New York 



Showing the attitude 

of subscribers toward 

the change m size 



"I could not do business without 
your fashion book. Anything that 
your judgment may suggest in the 
way of improvement will be ac- 
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of the contemplated change in size 
of L'ART DE LA MODE received. 
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Photo White 

CONTENTS: JULY, 1915 

Edited by ARTHUR HORNBLOW 

COVER: Portrait in colors of Miss Viola Dana in "The Poor Little Rich Girl" PACK 

CONTENTS ILLUSTRATION : Margaret Morris in "Ziegfeld Follies" at the New Amsterdam 

TITLE PAGE: Anna Pavlowa in "The Passing of the Swan" i 

PLAYS AND PLAYERS 2 

A FAMOUS ACTRESS MANAGER Illustrated Marc Logs .... 4 

MME. REJANE IN "LA SAVELLI" Full-page plate 

ELSIE FERGUSON Full-page plate y 

A LESSON FROM MOLIERE Illustrated R. C'allwiin . . . . 10 

SOME ATTRACTIVE PLAYERS Full-page plate 1 1 

To THE STAGE HEROINE Poem Evcl\n ll'atson ... 12 

KITTY GORDON Full-page plate 13 

IT Iss PERMISSABLE Illustrated Sum Bernard . . .14 

MARIE DORO Full-page plate 15 

PLAYERS WHO HAVE INHERITED THE TALENT OF THEIR PARENTS Illustrated . George C. Jenks . . 16 

MOST SUCCESSFUL OPERETTA EVER HEARD HERE Illustrated Rudolph Aronson . . 17 

MARGARET ILLINGTON Full-page plate 19 

WHO WROTE "HAMLET" FIRST? Illustrated . Clnirlton .-tudrc-n.'s . . 20 

"CEoiPus" ACTED IN THE RUINS OF A ROMAN AMPHITHEATRE Illustrated . . C. I. D 21 

A CHAT WJTH BLANCHE BATES Illustrated . . Wendell Phillips Dodge . 22 

BLANCHE BATES Full-page plate 23 

MEMORIES OF MUMMERS ' Jesse G. Clare . . .25 

To NAZIMOVA IN "BELLA DONNA" Poem . Anne Peacock ... 26 

IN STOCK Illustrated Harry P. Maa-son , . 27 

ROBERT HILLIARD Full-page plate 31 

TllE AUTHER AT A "FlRST NlGHT" G.C.J 32 

MARY BOLAND Full-page plate 33 

THE DECLINE OF ACTING C. A 34 

HAZEL DAWN Full-page plate 35 

WHY MY FIRST PLAY WAS A SUCCESS Illustrated Ada Patterson . . xii 

SUMMER APPAREL (The Best Shmvn by the Neiv York Stores) .... F. A. Brotitt . . . xiii 

A NINETEENTH CENTURY "JOSEPH AND His BRETHREN" Ma.v J. Hcrzberg . . . xx 

THE NEW PLAYS: "My Little Friend," "All Aboard" xx 




utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss. 

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THE THEATRE 



Vol ~ XVm 



JULY, 1913 



No. 140 



I'ablished by The Theatre Magazine Co., Henry Stern. Pres.. l.auis Meyer, /rea.,.. /;,/ Utytr. .SY, 'v 



H'esl Thin v .-i./Al/i VI. ,-,/, \r' y,,,k 






Photo Schneider 



ANNA PAVLOWA IN "THE PASSINf, OF THE SWAN" 

This famous Russian dancer will return to this country next season for a flying tour of the principal cities of the United States and Canada. It is said that 
Pavlowa's appearance here will be her last in America. In the above photograph she is shown in a new dance which will be in her repertoire when she 



ope 




White 



Ann-, Whe- Louise Barthcl Nina Napier 

VioUOmet^^^ ^ ACT ] op THE A R n ^^n F G1LBERT AN usi-LLrVAX-S OPERETTA, "IOLANTHE" 




THE rumor that several of the older 
New York theatres will be aban- 
doned next season, as far as the 

legitimate drama is concerned, and given up to moving picture's 
will surprise no one. The old-fashioned theatre, with its huge 
stage, cavernous-like auditorium, bad acoustics, is rapidly becom- 
ing an institution of the past. The tendency among modern theatre 
builders to erect small houses is growing more apparent every 
day. The popularity of the intimate theatre is a benefit to play- 
wrights in that these theatres are specially adapted to plays that 
would fail of their full effect in larger houses of the more com- 
mercial kind. The tendency of the day is toward more artistic 
plays. The play itself need not be small in idea, nor need the 
casts be so reduced that a considerable 
number of people cannot be employed. 
A play of magnitude, in many ways, 
could be performed in the small the- 
atre, but not of great magnitude in ex- 
ternals. It is plain that the matter of 
suitability as between the large theatre 
and the small one will adjust itself. 
No hard and fast rule can well be 
established. A notable tendency of the 
small theatre will be to break down 
some of the conventionalities. Thus, 
the two-act play will not be a lost pos- 
sibility, and the one-act play will not 
be negligible in a bill of entertainment. 
The smaller the theatre the larger the 
prices perhaps, but even so, the com- 
mercial spirit cannot profit in small 
houses, and of necessity the artistic 
must rule. It is more a question of 
tendency than it is one of the measure- 
ment of a theatre or play. As it is, and has been, there are houses 
of various capacities, and no manager would think of putting 
certain plays in the cavernous depths of the Grand Opera House 
or the Academy of Music. No, the little theatres are of a benefit 
to plays, and consequently to playwrights. It gives wider op- 
portunities and serves the public at the same time. 



of 



sporadic, ill advised as to the choice uf 
house, and marked with every appear- 
ance of the experimental. The I'nn- 
cess began with a house of its own and with a definite policy, and 
,,crhaps with resources of the kind of plays wanted to carry out 
that policy. In this way the first bill of plays had nothing ex- 
perimental about them, for they were impressive and successful 
from the opening night. Whatever they may be of the experi- 
mental in the venture, we take it, will gradually be reduced to 
certainty. Next season the management will feel its way to sure 
ground.' The first announcement, that the plays were to be of 
a kind that only men and women of the world experienced in the 
warfare of sex, if we may so describe the idea, would be asked 

to see, has been modified to some ex- 
tent. If the Princess presents only such 
plays as are artistically strong and virile 
with humanity, it will be enough. We 
believe such plays can be found. It is 
not likely that there can be any great 
abstract prejudice against one-act plays 
as such. The management of the Prin- 
cess will make it their business, no 
doubt, to see to it that they are so in- 
teresting and so well played that such 
a prejudice will disappear if it does 
exist. 

The unquestionable success that at- 
tended the production in this city re- 
cently of a play dealing most frankly 
with a subject usually only discussed 
in medical journals will doubtless en- 
courage efforts in the same direction. 
The propagandist play is hardly in any 

sense an entertainment. Only curiosity could give it profitable 
audiences for a little while. No one can take pleasure in i 
is a tragedy less in what happens in the play, than in the poss 
tragedies that the preachments conjure up to the mind. No doubt 
its audiences took "Damaged Goods" seriously enough ; no doubt 
there was a moral effect; but exactly what that effect was in all 
directions nobodv can tell. The play stands by itself, 
before so far as we know, has any other medical society made 




LEW FIELDS 

As Ian Van Ilaan in "All Aboard" at the Forty-fourth 
Street Roof Garden 



for the new dramatist, and one of unusual interest to the theatre- we ,,*<= * i-<y 

goer. Many attempts have been made to entertain the public disease, and its reform. Justice ^^m^t which 

with one-act plays as a regular bill, but the efforts have been described a s one of the kind, not in it 



THE THEATRE MAGAZINE 



' 



the public gladly flock to, but yet useful for the purposes of re- 
form. The propagandist play is not for the amusement seeker. 
To say that the theatre is a place of amusement is not to dis 
credit the theatre. It is also the place of enlightenment and ex- 
altation from which the sordid and the ugly are excluded. 



That New York never does things by halves is proven alike 
by skyscrapers and grand opera. Not content with the acknowl- 
edged fact that the Metropolitan ( )pera House is supplying its 
patrons the very best opera in the world and 
is doing what scarcely any other opera bouse is 
doing, namely giving opera in four languages. 
not content with all this, Father Knickerbocker 
is to have two more opera enterprises in fu'.l 
blast by fall. I'.oth of the two new enterprises 
are designed to furnish opera for the masses at 
prices ( ne-half and one-third of the present 
Metropolitan maximum cost of seats. 

One of these is the new opera venture of Oscar 
Hammerstein, who four years ago was bought 
out, lock, stock and barrel, by the Metropolitan 
directors, thus bringing to an end his dictatorship 
at the Manhattan Opera House. Now, chafing 
under the restraint of inactivity, Oscar Ham- 
merstein has bought a plot of ground on Lexing- 
ton Avenue and Fifty-first Street and will erect 
a big opera house, giving opera in English only 
at prices ranging from three dollars downward. 
His plans in detail have not yet been divulged; 
also there is some chance of litigation, as his 
contract with the Metropolitan directors, made 
at the time of his sale, precluded his giving grand 
opera in this city during a term of ten years from 
the date of the sale. But that feature does not 
concern us here. 

The other scheme of cheap opera is being fos- 
tered by the City Club. It was born at a lunch- 
eon given at that club a year ago, when some 
Metropolitan opera 'artists discussed grand opera, 
and innocently gave birth to an idea of furnish- 
ing the masses of this city with opera at popular 
prices. For a year this plan was silently hatched 
and then began to take form at first a crude 
and impracticable form for it was originally 
planned to give eight weeks of such opera before 
the opening of the Metropolitan season, and eight 
weeks after the Metropolitan had closed. What 
was to become of the engaged artists between the 
two seasons had scarcely been worked out logi- 
cal]}. 

At this point Mr. Otto H. Kahn, chairman of 
the Metropolitan Board of Directors, leaped into 
the breach. It was settled then, that the season 
of "Opera for the People" as it is called was 
to be given at the Century Theatre. And, more 
important still, was the fact that, instead of two, 
brief, interrupted seasons, this opera was to run 
about thirty-five weeks. Scenery and costumes 
are going to be lent from the amassed collections 
of the Metropolitan Opera House, whose ware- 
houses are bulging with unused scenery. This 
opera is not to be given in English alone, but 
in Italian, German and French also as in 
opera at the Metropolitan. A fund of $450,000 
is now being raised to cover the deficits of a three 
year run, and amounts are being pledged by in- 
dividuals. The names of such donors have as 
yet been withheld from the public, but Mr. Ed- 
ward Kellog Baird, of the City Club, is the chair- 
man of the Opera Committee. 



So, unless all signs fail, Xew York will have three opera com- 
panies "in its midst" next season. This is not the lirst tune that 
Mich a glut of opera has prevailed hcie, for some live \cars ago 
grand opera was giycn at the Metro|>olitaii, tile Manhattan and 
the < 'eiitur\ Theatre. There were weeks when ihe public was asked 
to hear as high as -.evented! performances of opera a \\eck. And 
what was the result? The Metropolitan is said lo have shown a 
heavy loss that season ; the Xew Theatre -now called the < eiitury 
'I l:eatre is said to have lost at a 'milinufil <m f'/'' -""' 




^ 







Sarony 



BILLIE BURKE 
Decently seen as Tommy Belturbet in Pinero's comedy, 



'The Amazons" 




Photo Bert, Paris 



THE MOST RECENT PORTRAIT OF MME. REJANE 



RE J A N E has a g a i n 
triumphed. O n t h e 
stage of her own 

theatre, this distinguished French actress is once more drawing 
all Paris to see her admirable acting of the heroine in "Alsace," 
the new patriotic play by MM. Gaston Leroux and Lucien 
Camille. The part is that of an Alsatian woman, who, after 
being banished for several years from her native town, returns 
at last to her home to find everything absolutely unchanged. In 
this character, so faithfully drawn, so simple and real. Rejane 
attains heights she has never before reache;!. On:e more she 
reveals herself as a comedienne without a rival. She has sur- 
passed in this play even her great success "La Robe Rouge." 
Without fear of exaggeration one may say that "Alsace." in 
addition to being a stirring, patriotic drama, also marks the 
apotheosis in the career of one of the most interesting and 
talented women that ever graced the French stage. 

Rejane to-day is fifty-six years old. She has been on the stage 
since 1875, when she made her debut at the Theatre du Vaudeville. 
Paris. In the spring of 1872, Mr. Charles Simon introduced to 
Regnier, the great comedian, a young governess who wished to 
"go on the stage." Regnier naturally began by trying to dis- 
courage her. But she showed so firm a resistance, and so much 
resolution that he at last consented to accept her as auditricc 
during the last two months of the school year. Nevertheless, he 
made certain stipulations : 

"If at the end of that lapse of time," he declared, "I see that 



you have no possibility of 
succeeding, promise me to 
believe what I will tell yon. 
an.l to obey me. Do you give me \our word of honor to do 
ibis ?" 

To abdicate thus the dream of one's life was nearly as cruel 
as to renounce it immediately. But the honored master to \\honi 
the young girl confided her fate was a perfect artist, and a 
scrupulously just man. Gabrielle Reju (her real name) bravely 
decided to incline herself to the decisive test : she promised. 

Her passionate love for the stage dated from her childhood. 
She was born between the Porte St. Martin and the Place du 
(.'bateau d'Eau, 14 rue de Douai, on the 6th of June, 1856. Her 
first surroundings were amidst the amusing Parisian population, 
both artistic, careless, dexterous and gay, which formed the 
habitual and enthusiastic audiences of the theatres of the Boule- 
vard du Crime. Her father, who had played in a few melo- 
dramas, and who had even directed the Grand Theatre of Arras, 
became ticket-taker at the Ambigu. And, enthroned behind the 
refreshment-bar of the foyer of the same theatre, her mother 
held dominion over some stale cakes, a few oranges and two- 
quart bottles of champagne. As soon as the child could walk 
she accompanied her parents to their work. They used to settle 
her in a corner of the foyer and whilst the chandelier shone 
dimly like a gigantic nightlight, she slumbered conscientiously 
during the long acts. It is probable, however, that her first 
theatrical impressions were not limited to those obscure watches. 



. REJANE IN MAX MAUREY'S PLAY, "LA SAVELLI 




T If R T fl I 7 - - ' 



It is possible that she occasionally witnessed the representations 
of such thrilling plays as "La Bouquetiere des Innocents.' ' 
Poissarde," "La Tour de Londres" and "Le Jnif Krrant. and 
that she heard the well-known voices of Melingue. Lacresson- 
niere and Marie Laurent declaim the long dramatic tirade 
in vogue at that period. 

Her father died before she reached her htth year, and for 
some time all the circumstances seemed to coincide to withdraw 
the little (labrielle Rejn away from the theatre. Her god- 
mother Mine. Xaptal Arnaiild. former fcnsumnaire of the 
Comedie 1-Yancaise. live.l in Russia, where she exercised the 
functions of reader of the Empress. Her mother, occupied by 
s,,me .tike work she had obtained at the Hippodrome, confided 
her dau-hter most of the time to the care of a neighbor, and 
later she sent her to school. lietweeu school hours Gabriel* 
contributed to the earnings of the family by making fans, which 
brought in from two francs to two francs fifty centimes a dozen. 
Then the war with Prussia broke out, to be followed by the 
Commune, and the child participating with all her ardent soul 1.1 
the struggle and vicissitudes her country was enduring, developed 
int.. a thoughtful young girl. \Vhen the tempest was past, she 
returned to her boarding school in the rue 1'igalle and worked 
so seriously that the directress of the school proposed to keep 
her as nndennistrcss. "at forty francs a month, luncheon in- 
cluded." The offer of so fine a situation tempted Mine. Reju, 
who accepted in her daughter's name. I'.ut the latter had quite 
other plans. At a friend's house, where she and her mother 
used to go on Sundays, she sang popular airs of the time with 
astonishing gaiety and naturalness. The small successes she 
thus obtained naturally excited her ambition. Then began the 



E MAGAZINE 

classical quarrel between mother and daughter. Mine. Rejn de- 
clared that one had "no right to oblige one's mother to become 
the mother of an actress." This argument proved fruitless. 
however, as fate intervened to precipitate matters. The Re] us 
lived at that period at 17 me Notre Dame de Lorette, and on the 
same floor as their Hat dwelt a lady who knew Charles Simon, 
son of the Ministrc tic I'lnstniction I'ltbliqitc, who kindly pre- 
sented her to Regnier, one of the most famous masters of the 

period. 

The little schoolmarm of the rue Pigalle first aiiditncc at 
Regnier's class, was received after a few months' study at the 
Conservatoire, and she became titulary pupil of her good master. 
The judgment so much apprehended, but to which she hac 
promised to submit, was pronounced as follows: Regnier tore 
up the cachets of the private lessons which the young girl took 
with him, crying: "When one has the mission of forming an 
artistic temperament such as yours, one accepts no payment for 

one's advice!" 

At the examination which took place at the en,d of the yes 
1873, Gabrie'.le Reju obtained a first accessit in "L'Intrigue 
Epistolaire." And we find the following appreciation of her in 
Sarcey's chronicles : 

"She is a child seventeen years old: she has one of those 
witty, amusing types which, even from a distance, denote the 
Parisian. If she does not make her way, I shall be very much 
surprised.'' 

The jury shared this opinion, and attributed to Gabrielle Reju 
the purse of 1,200 francs left vacant by Marie Legault, who had 
just been received at the Comedie Franchise. 

The second year at the Conservatoire passed happily. The 




I'hoto I!> rl 



rrnr.u KOYKR ()! TIIK TIIKATRK KK.IANE, PARIS 



'//// THEATRE MAGAZINE 



young pupil herself gave a few lessons, and she occasionally 
played at the small theatre of La Tour d'Auvergne, which Talbot 
directed, and sometimes she appeared on the stages of some 
suburban playhouses of the capital. At that period, following 
the advice of Alexandre Dumas, of Sarcey and of several of her 
comrades, she resolved to change her 
name. She hesitated some time be- 
tween the names of Regille. Rejalle, 
Rejolle. and finally one night, when 
she was playing in ' Paysans Lorrains" 
the name of Re jane appeared for the 
first time on a Parisian playbill. The 
examination of 1874 approached, and 
public opinion was almost certain that 
Re jane would be awarded the first 
prize. Nevertheless, though she played 
remarkably well a scene from "Les 
Trois Sultanes," she only obtained a 
second prize, which she shared with 
Jeanne Saniary. 

Regnier was indignant, and Sarcey 
tried to console himself at not seeing 
her at the Franc.ais, by the thought 

that she was more fitted to play at the 

Vaudeville or at the Gymnase. Re jane 

herself believed that there was nothing 

to do for her at the Odeon. And, 

when the director of this theatre, M. 

Duquesnel, claimed her, she managed 

to obtain a letter from one of the min- 
isters, thanks to which she was not 

compelled to resign the contract she 

had signed with the Vaudeville. 

She made her debut there in 1875. in 

the role of the Prologue in the "Revue 

des Deux Mondes." She obtained her 

first success with the creation she made 

in "Madame Lili," a one-act play by 

Marc M onnier, which she acted with 

Dieudonne, the 4th of September, 1875. 

The press began to speak of her, and 

to laud her wit and archness. During 

all the season of 1875-76. she appeared 

in a series of comedies, all more or less 

forgotten at present: "Midi a Quatorze 

Heures," by Theodore Barriere ; "Re- 

naudin de Caen," by Duvert and Len- 

jeaume; "Le Verglas," by the painter 

Vibert, and "Perfide cotnme 1'Inde," by 

Octave Gatineau. She worked hard 

and improved steadily. Regnier. of 

whom she affectionately continued to 

solicit advice, guided and encouraged 

her. Tie wished to accustom her to 

deportment and style, to distinction, 
whilst continuing all the while to 

search for true effect by simplicity and 
naturalness, en deliors du chic et de la 
ficelle. Tn "Le Premier Tapis," Offen- 
bach had heard her "phrase," with so 
clear and charming a voice an air of 
Lecocq's, that he offered her the sum 
of 20,000 francs a year to sing at the 
Varietes. Rejane refused, and her 

salary at the Vaudeville was raised. In 1877 she had consider- 
able success, especially in the dramatic passages of "Pierre." a 




Nadar 



"Le Mari d'llda," in which part she still lacked elegance and 
culture, she took up "Les Faux Mon-,hoinim-s." in which she was, 
according to Kegnier's own expression, "gay, true and witty." 
One day, in "Les Tapagcurs," she doubled a part at the 
last minute and improvised a scene. Her courage and 

self-control won her a real ovation. 
Mut when she appeared in "Les Lion- 
nes I'auvrcs," in 1X70. Sarcey could 
ii< it tolerate her interpretation of the 
role of Seraphine, whilst Marliey 
d'Aurevilly, on the contrary, compared 
her to Rachel. Indeed, it i-. the same 
llarbcy d' Aurevilly, who. after having 
>cen Kejane play in "I c IVri- I'ro- 
digue," by Dumas tils, predicted the 
great dramatic artist into which Mine. 
Kejane was to evolve later. "She ha*," 
he said, "the face and figure for enact- 
ing dramas, when one will write living 
ones." 

Though having spent eight years at 
the Vaudeville, and having interpreted 
twenty different roles, Rejane had not 
as yet been able to win for herself the 
reputation of leading star. At last the 
director of the Varietes offered her the 
principal part in an opcrette. "I^i N'uit 
de Noces," and. in a revue entitled 
"Les Varietes de Paris." by Blum. 
\Yolf and Tock. she personified a little 
baker boy who had run away that same 
year with a great lady. 

It was in that costume that Jean 
Richepin found her when he asked her 
to personate his heroine in "La Glu." 
Me took her to the Ambigu. which was 
then under Sarah Bernhardt's able 
management, and Rejane abandoned at 
last the tame repertory of vaudevilles 
and one-act plays, replacing them with 
living dramas. She played in one of 
those living dramas, predicted by llar- 
bey d'Aurevilly, and she played in a 
superior manner. 

In 1883 she created "Ma Camarade," 
one of Henri Meilac's most witty 
comedies. Rejane had at last revealed 
her real self, and from that date began 
her fine career: henceforth she was to 
be. according to the necessities of her 
parts, either tragic or impassioned, 
comic or witty. 

Her successes in "La Glu" and in 
"Ma Camarade" brought her back to 
the Vaudeville, to appear unfortunately 
in an unlucky play- 

For some time the important roles 
escaped her. She left the Vaudeville a 
second time, and awaited a new chance, 
which at last presented itself when she 
was designed to create "Decore." 
Whilst she rehearsed the bright, deli- 
cate masterpiece of Henri Meilhac. M. 

Porel offered her the title role in "Germinie Lacerteux," which 
the De Goncourt brothers had presented to the Odeon. She 



Rejane as Madame Saris-Gene 



"'\-.->H^-V.V_.TJ,V-.TI^l_*~l<ll'I^' 1 ^*'- 1 O f * , . . ., -111 

four-act play by Cormon, but nevertheless, during the last three accepted it after a certain hesitation, m spite of; 

years she had not advanced much in her career. Bartet was the Sarcey, Raymond Deslandes and many other of her friends made 

acknowledged star of the Vaudeville, and Rejane was nearly a to discourage her. She was right to do so. however, for the part 

whole year without playing. In 1878-79. after having created proved one of her greatest artistic victories. 






THE THEATRE MAGAZINE 



Deslandes recalled her to the Vaudeville for the third time. In 
Yictorien Sardou's "Marquise" she proved herself gay. charm- 
ing and witty, and henceforth she spent her time between the 
Boulevards and the Odeon. At the last-named theatre she cre- 
ated "Amoureuse." M. Georges de Porto-Riche's wonderful 
psychological love-play, which she imposed on the public and the 
critics by taking it up again in 1893, in 1896, and in 1899. 

As she had married M. 
Porel, it was natural that Re- 
jane should follow the director 
of the Odeon when he emi- 
grated to the Boulevards to 
inaugurate the Grand Theatre 
built on the emplacement of 
the ancient Eden. The play 
given was Daudet's "Sapho," 
and the first night took place 
on the 2 ist of November in an 
icy-cold and unfinished house. 
But Rejane's supple and living 
acting assured the success. 
"Sapho" was added to all the 
admirable creations in which 
she tinted reality with both 
vigor and delicacy. 

Maurice Donnav's voluptu- 
ous irony found in Rejane one 
of its best interpreters. She 
played one hundred times 
"Lysistrata" with a mocking 
grace and a most poetic aban- 
don. Then, as M. Porel as- 
sumed the management of the 
Vaudeville, in partnership with 
M. Albert Carre, Rejane ac- 
companied him there and ap- 
peared in "Madame Sans- 
( icne." She brought to the 
Vaudeville, which theatre had 
not much claim to her indul- 
gence, an uninterrupted good- 
luck. 

The season of 1893-94 was 
especially fruitful in fine crea- 
tions due to the great artist. 
For, whilst she lent all her 
sjaietv and wit to the per- 
sonification of the famous 
laundress, later wife of one of 
Bonaparte's marshals, Mme. 
Rejane resurrected "La Pa- 
risienne," by Henry Becque. 
which had failed at the Come- 
die Franchise, and also created 
the role of the heroine in Ibsen's drama, "Doll's House." 

At the end of that triumphal season of 1894, Grau the im- 
presario, took her for three months to the United States and 
Canada. Though warmly welcomed everywhere, she was more 
or less understood by her audiences. In Xew York, New Orleans 
and Montreal she obtained, however, very legitimate successes. 
( >n her return journey she made a short stay in London, where 
she played Madame Sans-Gene. in which role she has ever since 
been enthusiastically appreciated by her British public. 

During several long years she remained faithful to her Vaude- 
ville, where she continued to create those plays which so exclu- 
sively belong to Rejane's repertory varied and penetrating 
studies of modern life, of which she was the perfect heroine. 
From 1895 to 'Q 00 were given "I.e Partage." Albert Guinon's 
consummate psychological drama, in which Rejane revealed her- 
self so stirring; "Zaza," one of her most original conceptions; 




MADAME TETRAZZIM TAKES TO MOTORING 

This picture of the world-famed singer was taken after a ride about Los Angeles 
in her new Baker Electric, during the engagement of the Chicago Grand Opera 
Company. Madame Tetrazzini is an enthusiastic motorist. "I have quite for- 
gotten singing and the opera," she exclaimed, after spending many happy hours 
driving her own electric car. The new car will be taken to Lake Lugano, Madame 
Tetrazzini's beautiful Switzerland home 



"Le Lys Rouge," drawn from Analole France's immortal novel. 
"La Robe Rouge," in which she was curiously dramatic; "La 
Course an Flambeau," one of her greatest roles of modern tra- 
gedienne; "Le Joug," in which she sketched in so striking a way 
the gradual evolution of a woman's character. 

In 1897 she visited Copenhagen, St. Petersburg, Moscow. 
Odessa, Bucharest, Budapest, Dresden and Munich, where 

ever since she has frequently 
played as she makes almost 
every year a long tournee in 
the different parts of the globe. 
Numerous revivals completed 
the work of those fruitful 
years, notably that of "Ger- 
minie Lacerteux," in which she 
affirmed once more her great 
art of being natural. This 
play closed her theatrical career 
at the Vaudeville. 

When the divorce separated 
M. and Mme. Porel, their ar- 
tistic activity became distinct 
one from the other. Hence- 
forth from the 3rd of January. 
1904. Mme. Rejane was liber- 
ated from all her old contracts 
with the Vaudeville. She 
created at Brussels at the 
Theatre du Pare, "L'Hiron- 
delle," by M. Darin X io >d. '-mi. 
who has now become the con- 
secrated author of the ever 
great artist. And, returning 
to Paris, she appeared in all 
her customary talent in "L'Age 
d'Aimer." 

Finally she opened her own 
theatre, the Theatre Rejane. 
She transformed the old Nou 
veau Theatre which until then 
had had the bad luck of being 
vowed to concerts and to the 
passing artistic attempts of the 
aesthetics, into one of the most 
elegant houses of Paris. A 
gay foyer, decorate d with 
flowers and enlivened by music, 
forms a vast room suitable for 
chattering during the cntrc 
actes. And, moreover, Mme. 
Rejane had made a great effort. 
The works which are submitted 
to her clear judgment are not 
always such as so talented an 
interpreter might desire. But she neglects nothing to throw 
them as brilliantly into relief as possible. The Theatre Rejane 
opened on the I4th of December, 1906, with a picturesque ad- 
venture in crinolines, entitled "La Savelli," by Augustin Thierry 
and Max Maurey. Later was represented Francis de Croisset'? 
lively comedy, "Paris-New York." which contained some es- 
sentially Parisian conceptions of Yankees. During 1907 and i<t<>S! 
the following novelties were represented : "Raffles " a successful 
and thrilling detective play, drawn from Hornung's famous book 
by Dario Nicodemi ; "Oui Perd Gagne," by Alfred Capus ; "Is- 
rael," three vigorous acts by Henri Bernstein, who at the present 
moment is scoring real triumph at the Gymnase with "L'Assaut." 
The directress of the Theatre Rejane has grouped around her 
celebrated name many of her most distinguished colleagues, such 
as Mmes. Judic, Blanche Toutain, Suzanne Despres, Rosa Bruck 
and many others. MARC LOGE 









'.-<,. 







Mishkin 



ELSTE FERGUSON 
Who has been appearing as Bonita Canby in the revival of "Arizona" 




A Less 




MOUKRK 



PKl-'.sFN I'-DAV observers and 
students of the stage and the 
,1 r a ni a _ which nowadays 

to include nearly everybody have one great advantage 
..ver those of earlier days. In this, as 
in other matters, publicity is the order 
of the day, and the many sources of 
information are open to all. Our maga- 
zines and newspapers disseminate knowl- 
edge on this subject to an ever-increas- 
ing extent, and through these channels 
practically every successful dramatist, 
in detailed interviews, is obliging enough 
to respond to the public interest in the 
secrets of his craft. 

It was not always thus. Shakespeare 
unfortunately left no authentic interview 
on "Hamlet," or on anything else 
though in his work itself there is a rift or 
two through which those who run may read. Ibsen talked little 
when he was alive, though now that he is dead it is found that 
he left invaluable data as to his methods of work. It is also 
\rue that other dramatists gave specific statements, aside from 
their plays. To such an extent, indeed, did the younger Dumas 
carry this practice in his prefaces that Henry James was led to 
protest that he "had given the whole thing away." 

\. a rule, however, we are left more or less in the dark as t< 
the great dramatists of other times. It is. therefore, somewhat 
curious that one of the greatest exceptions in this regard should 
have received scant attention among English readers. The great 
plays of Moliere are, of course, very well known to us. both n 
the library and on the stage, but the two little p : eces they can 
hardly be' called plays giving the specific data here in question 
are not so well known. This is no doubt because they were 
both written for special purposes to answer his critics and con- 
found his enemies. All of these enemies being buried very deep 
by this time, these two curious plays as acting vehicles have 
therefore served their purpose; but to the 
student they remain veritable mines of in- 
terest, for in them Moliere stated clearly 
his attitude toward certain problems of the 
stage and of the drama. And that this 
great master of comedy was indeed a 
"modern" is shown by the fact that his re- 
marks are as pertinent and timely to-day 
as when they were addressed to the court 
and populace of France in the middle of 
the seventeenth century. Their very form 
and wording seem of to-day; for though 
Moliere was born but six years after 
Shakespeare died, thev belonged to differ- 
ent ages of the world. 

"T.a Crir'que de 1'Ecole des Femmes" 
was a brilliant reply to the attacks made on 
Molure's comedy, and is replete with in- 
teresting precepts. Unlike the theatre of 
the middle ages and of Shakespeare, that 
of F ranee at the time in question resembled 
in form our own. Incidentally, this ex- 
ternal circumstance necessarily affected the 
plays themselves and helps explain why 
Moliere is so modern and why his plays 
can he performed to-day just as thev were 
written. The parterre corresponded to the 
English pit or to our own gallery, in the 
respect that it was the cheapest part of the 
house. Tn these cosmopolitan times of 
course, the "best people" go to the gallery 
if they happen to feel like it : in other 
words, class distinction in these arbitrary 
aspects at least are gointj by the board. 
Still we can appreciate the following re- 

Copyright Mishkin 

Signor Scctti 



mark of Dorante in the above play, 
who defends Moliere against the 
implied rebuke that his comedy, 
the "Ecole des Femmes," appealed only to the parterre: 

"Intelligence has no fixed place at the theatre; the different 
between a half louis and fifteen sous has nothing to do wit 
o-ood taste; sitting or standing, one can give a bad judgment; 
but speaking in general, I am quite content to rely on the appn 
bation of the parterre, for the reason that among those whc 
compose it there are many who are capable of judging a play 
critically and because the others there judge it by the 
method of judging which is to put themselves in a receptn 
attitude toward it, without blind prejudice or affected compla 
cence or ridiculous delicacy." 

And of some people in the fashionable part of the house wh( 
had pretended to be shocked by some speeches in the "Ecole des 
Femmes" it was remarked that "their ears were the most chaste 
parts of their bodies." On the old discussion as to whether 
poetic tragedy or realistic comedy is the higher achievement, the 
following comments are made : 

UKANII- Tragedy, without doubt, is a beautiful thing when 
it is well done; but comedy also has its charms, and 
one is not more difficult than the other. 

DORANTE. Assuredly, madam, and as to difficulty you would 
not make a mistake in putting a little more on the side of comedy. 
I find it considerably easier to dwell on the big sentiments, t 
brave fortune in verse, accuse the fates, and tell one's trouble; 
the gods, than to enter in a fitting manner into the ridicule 
men and to show in an interesting way their faults on flie stag 
When you paint heroes, you do what you wish. 1 hey are free- 
hand portraits, where truth to life is not looked for. You have 
only to give rein to a flight of imagination, which often leaves 
the' true to seek the marvellous. T.ut when you paint men, you 
must paint according to nature. Such portraits must have real- 
ity; and you have done nothing if the society of your own time 
is not recognizable in your work. In a word, in those tragic 
pieces good writing and good judgment may suffice; but this is 
not sufficient for the others, you must be bright and it is a 
strange undertaking to make honest people laugh. 

Tn another place Moliere intimates that 
general culture makes one a better judge 
of works of art than all the knowledge of 
a pedant. He does, however, specifically 
state his belief in the importance of technic, 
and in the following attack he has in mind 
only a certain immortal type of pedant : 

Lysidas, who has been attacking Moliere 
and speaking of the faults in his comedy, is 
asked to kindly point out these faults, to 
which he replies that "those who know 
Aristotle and Horace see that the comedy 
sins against all the rules of art." 

UKAXIK. I admit that 1 am not up in 
those gentlemen, and that I know nothing 
about the rules of art. 

DORANTI-:. You are very fine with Mini- 
rules, with which you embarrass the ig- 
norant and eternally seek to impress us. Tt 
would appear, to hear you talk, that these 
rules of art are the greatest mysteries in 
the world ; but they are nothing but sim- 
ple observations which common sense has 
made on that which can affect the pleasure 
which people take in this kind of work ; and 
the same common sense which in other 
times made these observations, makes them 
easily any day, without the aid of Horace 
or of Aristotle. I should like very much 
to know if the great rule of all the rules 
is not to please, and if a play which has 
attained its object has not followed a good 
road. Would you hold that all the public 
is wrong about these things, and that each 
individual is not the judge of the pleasure 
which he takes in them ? 

UKAXIK. I have noticed one tiling about 
these gentlemen, that those who talk most 




in "Manon Lescaut" 




SOMK ATTRACTIVE PLAYERS RECENTLY SEEN IX MRoAIHVAY PRODI (TIOXS 

1. Mildred Klainc (Photo Moffett). 2. Peggy Wood ( Photo White). 3. Helen Falconer. Edna Baits. Cla.lys Xcll. Florence Williams (Photos Wliite i. 

4. Audrey Maple (Photo White). 5. Chapine ( 1'lic i Could and Marsden) 



THE THEATRE MAGAZINE 




Photos Matzene THREE PORTRAITS OF JULIA DKAN 

Who has been appearing in "Bought and Paid For," am! will lie seen next season in "Her Own Money," a play by Mark Swan 



about rules and who know them best, make plays which nobody 
likes. 

DORANTE. And that proves, madam, how little heed one 
should pay to their forced arguments. For, if plays which are 
made according to rules do not please, and those which please 
may not be in accordance with rules, then it follows of necessity 
that the rules themselves were badly made. Let us scoff, then, 
at this chicanery to which they would subject the taste of the 
public, and let us note in a play only the effect which it makes 
on us. Let us give ourselves up in good faith to the things which 
grasp our feelings, and not look around for reasons to prevent 
us from taking pleasure. 

URANIE. For my part, when I am well diverted, I do not ask 
if that is wrong of me, and whether Aristotle's rules forbid me 
to laugh. 

DURANTE. That's precisely as if a man who liked a sauce very 
much should seek to find out if it was good in accordance with 
the precepts laid down in the Cnisinier franfais, 

URANIE. True, and I am aston- 
ished at the hair splitting of certain 
people about things which we should 
feel for ourselves. 

DORANTE. ... we would be re- 
duced to not believing ourselves any 
more; our every sense would be in 
slavery in all things, and even to eat- 
ing and drinking we would no .onger 
dare to like anything without the per- 
mission of messieurs the experts. 

A little further on, Lysidas insists 
that the essence of a play is action, 
and that the "Ecole des Femmes" 
has no action as everything is con- 
tained in the recitals of Agnes or of 
Horace. To this the reply is made 
that there are other things in the 
play, and that as to the recitals re- 
ferred to, they are themselves action, 
as they are made innocently to inter- 
ested persons with diverting results. 

In other words, the much discussed term "action" is given its 
proper significance. 

There is a keen touch at the end of the Critique as to what 
is a true love scene. Lysidas has objected that the love scene 
in the fifth act of the "Ecole des Femmes" is too extreme and 
too comic. 

DORANTE. I should like very much to know if that is not a 
satire on lovers, and if honest people, even the most serious, on 
similar occasions, do not do things 

LE MARQUIS. My faith, Chevalier, you had better be quiet. 

DORANTE. Good. However, if we took careful note of our- 
selves, when we are much in love 



L MARQUIS.- I don't even want to hear you. 
DORANTE. Pray listen. In the violence of passion, is it not 
true 

But at this point the Marquis fortunately breaks into song 
and drowns out Dorante, thus saving the situation after prac- 
tically everything had been said by clever suggestion. 

In his play of a rehearsal, "L'impromptu de Versailles," 
Moliere takes two parts, one being that of Moliere, the stage 
director that is, he plays himself. His speeches, therefore, 
even more directly voice his sentiments than those of the char- 
acters who defend him in the Critique. As to "types" the fol- 
lowing point, not yet. curiously enough, fully learned, is brought 
out : 

.Mile. Dupare, a popular actress of the company, objects to 
her part that of a ceremonious woman complaining that she 
is nnsuited to it and will play it badly. 

MOI.IKRK. .Mon Dien ! mademoi- 
selle, you talked like that when you 
were given your part in the Critique 
dc I' Ecole des Fannies: nevertheless, 
you came through with flying colors. 
. . . lielieve me, it will be the same 
in this case and you will play it better 
than you think. 

Mi. [.!:. DIM-ARC. How can that be? 
No one in the world stands less on 
ceremony than I do. 

MOLIERE. That is true, and that is 
just the proof that you are an excel- 
lent actress to represent truthfully 
a character which is so contrary to 
your own nature. 

And in like vein Moliere goes on to 
talk with the rest of the company 
about their various roles; saying, at 
the end of this scene: "I describe 
your parts to you in order that you 
may take a strong mental impression 
of them." 

As to the scene of the new play, Moliere says: "Imagine 
that the scene is in the antechamber of the king; for that is a 
place where diverting things are always happening, and it will 
be a simple matter to .have appear there all the character we 
wish." Which is surely an improvement over the incongruities 
that exist in some more modern plays. 

As to making copies on the stage of individuals in real life, 
with which practice Moliere had been charged, one of the char- 
acters quotes Moliere as saying that "nothing displeased him so 
much as being accused of having individuals in mind in drawing 
that his aim was to paint manners and not 



Co ttje ^>tage Aerolite 

Could you but know how real the part you play. 
The words you speak, the purity you feign. 
Seems to some simple folk who pass your way 
Who find your whiteness free from scar or stain! 
Could you but feel how pulses thrill and leap 
As each ennobling sentiment slips o'er 
Your painted lips or watch the hot flush creep 
O'er virgin cheek at each gross wrong you bore; 
Would not such free unmeasured homage wake 
An answering thrill within your unstirred heart? 
Would not your life grow sweet and pure to make 
The counterfeit of your real self a part? 
Great Faith instills a purifying leaven, 
And Virtue feigned grows Virtue ripe for Heaven. 

EVELYN WATSON. 



his portraits ; 
individuals. 



R. CALHOUN. 




!-? i r ii \ 












White KITTY GORDON 

This popular actress, who has been seen this season in "The Enchantress," is now appearing in vaudeville 







I 






SAM BERNARD 

In "All for the L.-nl 



WHEN Mayor Gaynor decided 
to close up Broadway at 
I A.M., everybody said, It iss 
not permissable, because Broadway 
has never been closed night or day. What is the use? Those of 
us who have known this little street when it was much smaller than 
it is now cannot remember the time when it was not wide open 
If the mayor succeeded in closing Broadway at i A.M., who would 
have the latchkey? It is nonsensical and 
never should be. 

The question is this, What iss not per- 
missable? I can remember the time when 
there were only a few theatres in New 
York which were run by gentlemens. There 
was Mr. Augustin Daly and Mr. A. M. 
Palmer and Mr. Lester Wallack, all gen- 
tlemens of the kid glove, and managers, too. 
It was not necessary to play on Broadway 
in those days to become a star. Even on 
Union Square it was permissable to be ar- 
tistic, to be recognized favorably. Every- 
thing has been so pushed in the face by what 
you call progressive conditions in New 
York that for the life of me I cannot tell 
where Broadway really iss. It looks to me 
more like Fourteenth Street, but then again 
it doesn't, because it costs more to be there. 
If the theatres were all pushed over onto 
Fifth Avenue, then Broadway would take 
the place of Fourteenth Street and Four- 
teenth Street would become a continuation 
of Grand Street, speaking socialastically. 

What iss it the mayor don't like about 
Broadway ? 

I don't like it myself, but I haf to, be- 
cause it is the will of the peoples. There iss no difference from 
what it is now than it was before it iss. Some people object to 
cabaret shows, but they always was on Broadway. I remember 
the time when they were called "speak it easy." No elegancis or 
superfluiplus, but nice little corners for tired business men. One 
of the gentlemens who ran a nookery of this sort was Tom Gould. 
Respectable peoples were not supposed to go there, but it was the 
best place to find them after the theatre. There were one or two 
other places of the same kind, but they didn't have French names. 
The proprietor was usually an Irishman, who had come over to 
be a policeman and had got a raise in the world. It iss natural ! 
I r irst he raised potatoes in Ireland, then he raised liquor in 
America. But it iss not a question of what was permissable on 
Broadway then, it was a question of what iss possible. The 
answer to it was the same then as it is to-day, "If you live hap- 
pily ever after, be good." Everything has changed, the goods 
and the prices and tire people. There was a time in New York 
when it was not permissable to speak French. You were under 
suspicionings when you did it. Now it iss permissable. Iss the 
French language any worse than it was ever? I don't know. 
When I get excited I only speak German, but there iss in the 
French language somethink smart, somethink classy that you haf 
not in others. Broadway in th'e early clays of my career, when 
it wanted to laugh at, like the Irish joke, best of all. Before 
ragtime came the Irish. Nothing was permissable for laughter, 
excepting the stage Irishman. Many times I made myself Irish 
to please. When the funny Frenchman first came to Broadway 
he was not permissable. The Irish police were after him. It 
was not because he was funny, it was because his country was 
not permissable. He was supposed to be a bad boy. Then when 
the French farce first appeared, and the American public which 
had read about Paris believed that it was not permissable in 
good society, they wanted to ; that is, their curiosity got the best 
of their prevention. 

It seems a long way off when Miss Olga Nethersole had to 
give a special police performance of "Sappho" before it was per- 
missable. Th'e question was whether a gentlemens should carry 



IL1 



By SAM BERNARD 




a lady upstairs. The police captain 
said it was permissable, and another 
foolishness was settled. All the peo- 
ples who wanted to see this play 
couldn't, because the actors could not perform night and day. 
This was the first Broadway acknowledgment that French is per- 
missable. .It was the beginning of new conditions in the theatre. 
All the comedians began studying French spelling books. Irish 
whiskers were buried and goat whiskers 
took their place. Table d'hotes everywhere 
came up like mushrooms. No one touched 
corned beef and cabbage by that name, and 
the Irish stew became something with a 
name no one could understand, but it tasted 
French. 

Since then what has happened? New 
York has been trying to become like Paris, 
not even so good, nor half so bad. French 
plays ran the limit, till peoples got tired of 
them and looked for something worse. 
They got it in the cabaret shows. With 
their soup they got it, with their fishes, with 
their game, and by the time they had paid 
so much more than they could eat in a week 
they had tired of the theatre. Mind you 
I am not a moralist, but the painted lady in 
short skirts does not belong when I eat. 
She should not be permissable. And an- 
other thing, why should I be made so sad 
at supper time when I must be happy? 
Why will they always choose songs to make 
you cry when the bones of the fish are more 
than you can count ? 1 had to listen to a 
tenor one night while I was at dinner who 
sang about snakes, and it gave me a bad 
taste for the whole meal. It should not be permissable either for 
a lady to sing about a broken heart just when the waiter brings 
you a check ; it iss too much. 

In some ways there is a sufficiency on Broadway and in some 
ways there is not yet enough. When the mayor decided to make 
everybody go home at i A.M. he forgot something. He forgot 
what a long street Broadway is. From One Hundred Street 
up live many peoples who never come to the White Way. Why 
iss it ? Because they have a new Broadway of their own right 
on the hearthstone of their homes. They have their own cabarets, 
their own theatre and their own permissableness. At the moving 
picture theatre they get an orchestra chair for ten cents. It has 
spoiled them. They will not sit in the gallery of a theatre any 
more. So they wait till baby's bank has saved up two dollars' 
worth of pennies and then they rob the child to go to tire theatre 
Yet it is permissable ! 

My old friend. B. F. Keith, is largely responsible. Many years 
ago, when he started his first " continuous,'' I worked for him. 
He had a long store, with a stage at one end. just like some of 
the moving picture theatres to-day. The performance com- 
menced at ten o'clock in the morning and lasted till ten o'clock at 
night. The admission price was ten cents, and every actor re- 
peated himself about forty time.s a day. Mr. Keith used to call 
me before breakfast, to be ready to give my first performance of 
the clay. What iss the difference now? The peoples were just 
as crazy for entertainment then as they are now, but to-day the 
peoples are more, and they were fewer once. 

Most of them have become millionaires. The men I grew up 
with are all rich now. because it is permissable. I should like 
to know how they did it, but they wouldn't tell me ; they just 
gave me a job. 

If the mayor would make actors take out a license to act, there 
would not be so many actors, so many theatres, or so many 
restaurants to fill. Any kind of a license would do, and in some 
cases, if he ran short, he could use dog licenses. What is the 
difference? A good license is a stificate and a sufficiency. A 
great many peoples are driven (Continued on page vi) 






A NEW PORTRAIT OF MAK1K 11ORO 




John Drew Mrs. Drew 



H. B. Irvinjf Henry Irving Ethel llarrymore Maurice I'arryniore John Harrymore K. A. Sothern 



. H.Sothern J. H. Hacketl J. K. Hackett 



^~^HE popular young actor had just taken half a dozen cur- 
tain calls at the end of the second act. In a powerful 
scene, written expressly to give him his "big opportunity," 
he had dominated the situation so splendidly that the applause 
swelled to a riot and the curtain went into convulsions. 

"Wasn't he magnificent?" observed the First Nighter, as he 
and the Old Playgoer went through the lobby for ten minutes 
of fresh air and tobacco-smoke. "The perfection of dramatic 
art, I should call it. And yet, how evanescent is the fame of 
the stage ! The great actor of to-day is forgotten to-morrow, 
just as the names that were famous twenty or thirty years ago 
are practically blotted out from the memory of everybody now." 

The First Nighter was so overcome by his own platitudinous 
sentiment that he was inclined to shed a tear. Instead, he 
merely choked on his newly-lighted cigarette. 

"Piffle!" grunted the Old Playgoer. "Good work if it is 
good enough will keep a name alive for centuries. But actors 
of our time don't have to depend wholly on that to go ringing 
down the ages." 

The First Nighter puffed patiently, awaiting an explanation. 
It came in a steady growl : 

"Did you ever stop to think how many names that you see on 
theatre programs nowadays were familiar to theatre-goers of 
a generation ago?" 

"Why er 

"For example, our friend Blank, who has just knocked them 
out of their seats inside here, comes of a family that has warmed 
itself by the footlights for seventy-five years or more. I didn't 
know them all, but his father starred for years, and his mother 
was one of the cleverest comediennes J ever saw. This boy 
you call magnificent is not the first Blank to 'put it over' strong 
not by a long shot." 

"Oh, of course there are some stars who have inherited their 
talent. I have heard of Blank's father, now you remind me." 

"Some?" bellowed the Old Playgoer. "What the deuce are 
you talking about ? Let me run over a few names that occur to 
me offhand. To begin with, there's John Drew. Isn't he his 
mother over again talent, personal appearance and all, and 
wasn't his father a fine actor, too? What about Lionel, John 
and Ethel Barrymore, with Maurice Barrymore for their father 
and Georgie Drew their mother? How about Maude Adams, 
the daughter of a hard-working actress ? Then E. H. Sothern ! 
It wasn't he that first made the family name known on the stage. 
His father was a better actor than he is although the abysmal 
solemnity of E. H. may make us take him more seriously than 
ever we did E. A." 

"That's true." assented the First Nighter thoughtfully. "Then 
there's Viola Allen. Leslie Allen, her father, acted and was 
well known many years before she ever went on the stage. And 
Rowland Buckstone! I never saw his dad, J. Baldwin, but the 
name of Buckstone 

"Was famous in London for more than half a century." inter- 
rupted the Old Playgoer. "What's more, look over French's 
list of farces and note how many of them which are not too old- 
fashioned for the stage even now were written by J. Baldwin 
Buckstone when Queen Victoria was a young woman." 

"Lionel Belmore of Faversham's company is the son of an 
old-time actor, too, isn't he?" 



"Certainly. George Belmore was one of the most popular 
comedians of his day. His Nat Gosling, in Boucicault's "Fly- 
ing Scud," was a classic in the sixties, and everybody knew 
Belmore on both sides of the Atlantic. J>y the way, look at the 
Boucicaults. The present generation of that name are all so 
clever that some of the young people who go to the theatre 
hardly remember that Dion the elder was counted a genius, both 
as actor and dramatist, and that their mother was a finished 
actress and as popular in her day as Maude Adams is now." 

"James K. Hackett's father was an actor, wasn't he?" 

"Was he?" spluttered the Old Playgoer. "I should say he 
was the best Falstaff the American stage ever knew. The name 
of Hackett would live even if he'd never had a son. And there 
.are many others more than I can think of at the moment. 
For instance, the name of Collier was always a drawing card on 
programs in the last half of the nineteenth century, although a 
lot of young people know of only one Collier, \Villie or 
'William F.,' as it is now, I believe. Then there's the name of 
Loftus. Cecilia has talent enough to make it famous, but the 
fact remains that her mother, Alice Loftus was an actress and 
singer of unique attractiveness, and had a larger following than 
her daughter particularly in London. The same may be said 
of Henry Irving, of course, notwithstanding that H. B. will 
probably in a few years be the only Irving the younger genera- 
tion will know much about." 

"And there's Wallace Eddinger. whose father has acted here- 
abouts for a quarter of a century, and Dorothy Russell, who 

The Old Playgoer smiled. 

"It will be a long time before Dorothy drives Lillian Russell 
out of men's minds," he said. "There's only one Lillian Russell, 
or ever will be, in my opinion. But talking of young girls coming 
to the front, look at Alice Brady. I suppose you know that 
William A. Brady is a pretty fair actor, as well as an able man- 
ager, while Alice's mother, Marie Renee, was an unusually clever 
actress, as well as a beautiful woman. You should have seen her 
in the title role of 'She.' So Alice inherits her talent on both 
sides of the family to keep the name of Brady alive." 

"I see there's a Josie Collins playing on Broadway who is the 
daughter of Lottie Collins. I don't remember Lottie. She was 
before my time." 

"Then you are the loser," rejoined the Old Playgoer promptly. 
"Lottie Collins had a song a stupid thing i itself, with a refrain 
of 'Ta-ra-boom-de-a\!' that carried you right along with it whew 
she sang it. Lottie Collins was the rage, and everybody for a. 

vear or two was humriiing 'Ta-tfa-rju'' So Collins is not a new 

& 

name either." 



"Arthur Bvron- 









"Son of Oliver Doud Byron, of 'Across the Continent' fame. 
Yes, the Bvrons are all right, but I doubt if ever Arthur will have 
the big reputation of his father, in spite of the fact that he is a 
.better actor than Oliver Doud. The point is that the name sur- 
vives. Pat Rooney was a popular Irish comedian of the 'variety 
stage,' as it used to be called, and when he died it was regarded 
as a distinct loss to that branch of the profession. But we still 
have his son, who is as good a dancer as his father, if not so 
funny." "It looks as if you are right in saying there are plentv 
of old names still on theatre programs,'' said the First Nighter. 

GEORGE C. IENKS. 



Lhe hew York Casino 



PAULINE HALL 



WILLIAM S. DABOLL 
The original Ravenncs (Ravvy) in "Erminie 



Sarony MARIE JANSK.V 

The original Tavotte in "Erminie 



The original Erminie in "Erminie 



BY RUDOLPH ARONSON 




FRANCIS WILSON 
The original Cadeaux (caddy) in "Erminie 



URING the fall and 
winter of 1885-1886 I 
presented at the Casino 
Johann Strauss' tuneful oper- 
etta "The Gypsy Baron," which 
had been elaborately staged by 
the late Heinrich Conrierl, 
afterwards director of the 
Metropolitan Opera House. The work was so well received as 
to encourage further experiments in the same direction, but in- 
asmuch as 'The Queen's Lace Handkerchief," "The Merry War," 
"Prince Methusalem,'' "The 1'eggar Student," "Die Fledermaus," 
"Apajune," "Nanon" and "Amorita," all of Viennese manufac- 
ture, had during a period of five years preceded "The Gypsy 
Baron," I was inclined to believe that the public had tired for 
the time being of that class of entertainment and was clamoring 
for the Gilbert and Sullivan creations or works with musing 
librettos and of English construction. 

It was during the run of "The Gypsy Baron," while 1 was at 
home recovering from illness that had kept me indoors for 
several weeks, that I received a cablegram from London from 
Edmund Gerson, the dramatic agent. It read as follows : "Can 
procure for you for five hundred dollars new operetta by Paulton 
and Jakobowski, entitled 'Erminie,' now playing at the Comedy 
Theatre, London, to fair business." I answered by cable thus: 
"Send libretto and if satisfactory will wire five hundred." 

While I was waiting for the "Erminie" libretto I attended a 
ball at the Metropolitan Opera House and in the Press Room 
happened to meet Mr. Frank W. Sanger, the well-known man- 
ager. "Hello, Aronson!" he exclaimed. "I have just received 
the libretto and music of an operetta recently produced in London 
called 'Erminie.' " Astounded at the news, I told Sanger of the 
negotiations I had had with Gerson. "You are too late," he 
answered. "Miss Melnotte. Willie Edouin and myself control 
all the rights for America." That was definite enough, so accept- 
ing the situation as gracefully as I could, I said : "Very well, then, 



send it to me as soon as you can and I will look it over." 
The next clay Sanger sent me the vocal score and libretto. I 
was charmed with the airiness, catchiness and daintiness of the 
music and particularly with the song When Love is Young, 
the All for Glory march of the first act, the Dickey Bird 
song, The Lullaby and Gavotte and Good Night chorus. As 
for the libretto, it was one of the best and most amusing that T 
had ever read. I did not hesitate long, but accepted the American 
rights to the piece for a period of seven years on a basis of seven 
per cent of the gross receipts. 

"Erminie" was immediately put into rehearsal. Mr. Harry 
Paulton. the well-known English comedian and its librettist, was 
requisitioned to come over from London in order to stage the 
opera, and Mr. Jesse Williams was engaged as musical director. 
The cast I selected was as follows: 



Erminie Pauline Hall 

Javotte Marie Jansen 

Cerise Marion Manola 

Princess de Gramponeur. . 

Jennie Weathersby 

Captain Delaunay Rose Beaudet 

Marie Agnes Folsom 

Cadeaux Francis Wilson 



Ravennes William S. Daboll 

Eugene Harry Pepper 

Marquis de Pouvert Carl Irving 

Chevalier de Brabgazon Max Freeman 

Simon Waiter at the Lion D'or. 

A. W. Maflin 

Dufois Innkeeper Murry Woods 

Viscomte de Hrissac C. L. Weeks 



One of the most difficult parts to fill was that of Ravennes. I 
hunted high and low and finally, at a performance of the Salsbury 
Troubadours, my attention was directed to Mr. William S. 
Daboll. whose acting, personality, gentlemanly bearing and gen- 
eral make up appealed to me strongly for the character of the 
gentlemanly rogue. I immediately engaged him, and my judg- 
ment was fully sustained by public and press. Mr. Daboll scored 
an unqualified triumph, and had not illness and unsuccessful 
business pursuits hastened his ejarly demise, he would have 
achieved great prominence in his profession. 

When I approached Miss Marie Jansen, one of the most pop- 
ular soubrettes of that time, at her picturesque home at Winthrop. 
Massachusetts, with a view to engaging her for the part of Ja- 
votte, she perused the part, then handed it back to me with tears 
in her eyes. "Mr. Aronson,'' she exclaimed, "is it possible that 
you ask me to play such a mediocre part, that has not even one 



i8 



THE THEATRE MAGAZINE 










Sarony 



Will be seen next season 



song?" I thought of what she said for a few moments and then 
replied : "Very well, I will get a song for you that will be accept- 
able," and I did. I took a little catchy German song I had heard 
in Berlin some years before, had words written to fit the situation, 
with the refrain Sundays after three, 
my szt'ccthcart comes to me. This 
I submitted to Miss Jansen, who 
promptly accepted the part and the 
song, and the ballad thus introduced 
made one of the hits of the operetta. 
She thanked me many times for "that 
splendid introduction." 

Another introduction entirely for- 
eign to the operetta which I found 
necessary in order to strengthen the 
entrance of the two rogues Caddy and 
Ravvy in the first act, I discovered in 
Planquette's "Les Voltigeurs du 
32eme." With the requisite words it 
fitted the situation like a glove. 

During the preparations for the 
production. I was very frequently in 
consultation with Henry E. Hoyt, the 
famous scenic artist. At that time 
Mr. Hoyt had a small studio among 
the flies over the stage of the Metro- 
politan Opera House. This was a 
congenial resort where I could enjoy 
the ideas of a finished artist regard- 
ing the elaborate scenery that was 
being planned for the new operetta. 
At one of these consultations I sug- 
gested to Mr. Hoyt that he experi- 
ment with a stage setting entirely of 
one color. With the proper light effects such a setting would, I 
thought, be novel and attractive. The result was the famous 
"Pink Ball Room" scene in the second act which brought Air. 
Hoyt the most flattering encomiums. 

Messrs. Harry Paulton and Jesse Williams rehearsed the com 
pany assiduously for many weeks, and when their work was 
finished and the final dress rehearsal at an end, Mr. Paulton said 
to me in a voice full of disappointment : "With the antics of 
some of the people on the stage, the many interpolations and its 
Americanization, so to speak, 'Erminie' will be a fiasco." Natur- 
ally, 1 promptly disagreed with this dismal prophecy, although I 
fully realized that it is a difficult matter to judge in advance of 
a production just what the public will accept. 

The ever-memorable date, May lo, 1886, will never be 
eradicated from my memory. It was on that day that the curtain 
rose at the Casino on "Erminie," the most successful operetta 
of modern times. I remember viewing the performance from a 
balcony seat, and until about one-third of the first act I felt as 
if Mr. Paulton's "fiasco" prediction might be realized. But after 
the entrance of Caddy and Ravvy, admirably played by Francis 
Wilson and William S. Daboll to the catchy strain of my im- 
provised introduction, and the eccentric business of both come- 
dians, there came a genuine burst of applause from the audience 
that filled every nook and corner of the theatre, compelling at 
least six repetitions of the number. I started joyfully from un- 
seat. Doubt had given way to the fullest confidence ; "Erminie" 
was a success. 

Number after number was encored. The public laughed and 
shouted without restraint, and even before the evening was half 
over "Erminie" was voted a great triumph. Afterwards it be- 
came a veritable craze and settled down for a phenomenal run. 

In addition to the original cast there appeared in "Erminie" at 
divers times during my regime Louise Sylvester, Mary Stuart. 
Alma Varry, Georgie Dennin, Josie Sadler, Sadie Kerby, Isabella 
Urquhart, Fannie Rice, Eva Davenport, Sylvia Gerrish Florence 
Bell, Eva Goodrich, Kitty Cheatham, Henry Hallam, Mark Smith, 





DONALD HRIAX 

n "The Marriage Market" 



George Olmi, Charles Plunkett, Edwin Stevens, Fred Solomon, 
James T. Powers, B. F. Joslyn, Charles Campbell, John E. Brand, 
N. S. Burnham, Ellis Ryse, Frank Ridsdale, E. B. Knight, etc. 
On each of the many hundredth performances an appropriate 

souvenir was presented to th'e audi- 
ence, and on the five-hundredth repre- 
sentation, not only was the vast and 
enthusiastic audience so favored, but 
also the principals and the chorus, the 
former receiving beautiful Tiffany de- 
signed silver miniature suitcases, fac- 
simile of the one carried by Ravvy 
and marked V de B, and the latter, 
cages containing dickey birds. 

It was on that occasion that I re- 
member Francis Wilson saying to me : 
"Do you know, Mr. Aronson, this 
continuous playing of the same part 
is telling on my nerves. At times I 
almost feel as though 1 were for- 
getting my lines. Why won't you re- 
lieve me of the part temporarily?" 

I very much regretted not being 
able to accommodate Mr. Wilson, but 
it would have been difficult to replace 
him, after his tremendous success. 

"Erminie" continued running for 
hundreds upon hundreds of perform- 
ances. Owing to arrangements pre- 
viously made 1 was compelled to have 
the original company play in Boston, 
Philadelphia and Brooklyn during a 
period of six weeks to capacity busi- 
ness. Returning to the Casino, it 
continued for hundreds of more nights, until at last the number 
of consecutive performances reached the grand total of twelve 
hundred and fifty-six, when, on account of my long-deferred 
contract with Mr. Alfred Hays, of London, for the presentation 
of Chassaigne's "Nadjy," the ever-popular "Erminie" had to be 
withdrawn. 1 had paid Mr. Sanger over one hundred and twenty 
thousand dollars in royalties, thus proving that sometimes a fair 
success in Europe will make a great success in America, and 
T'uv versa-. 

I was the victim of many piratical productions of "Erminie" 
during the run of the opera. In 1886, 1887 and 1888 I had no 
less than fourteen lawsuits against pretended owners of the opera, 
produced or announced to be produced under all sorts of ficti- 
tious titles, to wit: "The Two Thieves," "Robert Macaire," "The 
Vagabonds," "The Robbers," "Caddy and Ravvy," "Robert and 
Bertram," etc. In each case 1 secured an injunction, but it meant 
for me much trouble and expense. Mr. David Leventritt was 
my attorney in these suits, and they kept him exceedingly busy, 
almost to the very moment he was elected to the bench of the 
Supreme Court. 

I recall the greatest blizzard of modern times in New York, 
in March. 1888, when for three days, with snow in some places 
twelve feet deep, traffic was at a complete standstill. On the 
first night of the blizzard, March roth, only two performers, 
Louise Sylvester and Francis Wilson, reported at the Casino (the 
former almost exhausted from the 'effect of the wind and snow). 
"Erminie" was still the attraction, but the only applicants for 
seats on that memorable night were three sturdy Canadians, to 
whom in the absence of my treasurer I extended a compli- 
mentary pass for the following evening, when I thought it might 
be possible to resume operations. 

I attribute the great success of "Erminie," in a large measure, 
to the uniformly excellent casts provided. The stage at that time 
had not yet succumbed to the star evil, although it was fast 
coming. I myself rejected several overtures from my artists 
to engage them at lower salaries (Continued on page viii) 







Photo Strauss-Peyton 



MAUr.ARET IlJ.INfiTON 



This popular actress, who has been appearing in Charles Kenyon's play, "Kindling," will be seen next season in a new play 

m 




WHO wrote "Hamlet" ? 
"Shakesp " the 
surprised reader is 

endeavoring to reply, when some cocksure "pundit" interrupts 
with a loud "Bacon!" Whereupon the followers of Raleigh, 
Essex, Southampton, and even of Good Queen Bess herself, 
surge forward, and pandemonium ensues. There is no way of 
putting a quietus on the discussion except by substituting an 
even more moot point; hence the problem, "Who Wrote 'Hamlet' 
First?" Never mind who wrote the last version of the play 
who wrote it first? 

Saxo Grammaticus, a twelfth-century Danish writer, found in 
the old sagas the original story of Prince Amleth. This strange 
tale reached William Shakespeare through a translation by Fran- 
cis de Belleforest, in his French collection of "Tragical His- 
tories," published in 1571. That the Shakespearean "Hamlet" 
existed before 1602 is not absolutely certain, though Nash men- 
tions a play by that 
name in 1589, and 
Philip Henslowe, a 
theatrical manager of 
the day, notes that 
"Hamlet" was per- 
formed June 9, 1594, 
and then not as a new 
production. Two years 
later appeared a pam- 
phlet by a certain Dr. 
Lodge, in which the 
author, writing of 
"Hate-Virtu e" or 
"Sorrow for Another 
Man's Good Success," 
declares that it is "a 
foule lubber, and looks 
as pale as the visard 
of ye ghost, which 
cried so miserally at ye 

Theator, like an oister-wife, 'Hamlet reuenge.' " 
doctor, Gabriel Harvey by name, in 1598, makes a notation about 
"Hamlet" in his copy of Chaucer. It is also to be remembered 
that one of the characters in Dekker's "Satiro-Mastix," 1602, 
remarks, "My name's Hamlet reuenge: Vhou hast been at Parris 
Garden, hast not?" Obviously, then, there was in existence 
between 1589 and 1603 a play called "Hamlet" wherein a ghost 
appealed for revenge. But was this Shakespeare's "Hamlet" ? 

The playwright had evidently for some time been interested in 
the story of the Prince of Denmark; for, in 1585, a few months 
before Shakespeare attained his majority, he bestowed upon one 
of the twins born at his country home the name Hamnet, a vari- 
ant of Hamlet. However, the first printed copy we possess of 
the tragedy is dated 1603; though, indeed, our modern version 
is much more like the second edition or quarto, published the 
following year. The title-page of this latter announces "The 
Tragicall Historic of Hamlet, Prince of Denmarke, newly im- 
printed and enlarged to almost as much againe as it was, accord- 
ing to the true and perfect Coppie." The first quarto passed 
out of knowledge and was not exhumed until 1823, when Sir 
Henry Bunbury found a copy of it in his closet at Barton. It 
differs widely from the later version, in language, nomenclature, 
order of scenes, and size. One full scene in it is not found in 
any later edition. 

It has been assumed by many investigators that the later "Ham- 
let" represents Shakespeare's painstaking revision of his original 
play. "Plays are not written, but rewritten," we are told; and 
there seems no good reason why this axiom should not have 
applied equally as well in the days of good Queen Bess as now. 
Some have even thought that the 1603 "Hamlet" itself was in 
turn a revised version of the play that we have seen existed in 
1589; but that is, of course, assuming that the latter was also 
from Shakespeare's pen. 

Another theory, that is still more interesting, maintains that 




John Philip Kemble 



this abbreviated copy, resur- 
rected by Sir Henry Bun- 
bury, is not an original draft 

of the play, but is rather a pirated version, the main points taken 
down in a crude shorthand and the details written in largely 
from memory. Indeed, the black flag with the skull and bones 
was afloat on the theatrical sea in Shakespeare's day as now. a 
fact which explains why he always delayed the publication of his 
dramas till their newness had worn off. However, the 1603 
edition seems even too different from the later "Hamlet" to be 
thus accounted for. Polonius and Reynaldo are called Corambis 
and Montano; and the player-king's speech, instead of being as 
later of a stilted bombast parodying some of the "high tragedy" 
of the day, is written in musical cadences no different from the 
poet's usual style. So the piratic theory seems to be less well- 
founded than that of the revision, especially when we recall that 
it was then customary, by altering the lines, to keep successful 

plays up-to-date. 

However this may 
be, the relationship of 
the unquestionable 
Shakesperean "Ham- 
let," dating at least 
from 1603, to that 
other "Hamlet" of the 
four or five preceding 
years, whose most sal- 
ient feature was a 
ghost crying for "re- 
uenge," is a consider- 
ably more difficult 
problem. 

It is somewhat fur- 
t h e r complicated by 
the existence of a 
German treatment of 
the same subject, 
called "Der bestrafte 



William Charles Macready 



Charles Kean 



THREE FAMOUS HAMLETS OF THE ENGLISH STACK 

And another Brudermord," or "Fratricide Punished.' 



That eminent Shakespearean scholar, the late Dr. Furnivall. 
was convinced that none of these earlier references to a play of 
"Hamlet" such as Nash's phrase (1589). "whole Hamlets I 
should say handfuls of tragical speeches," and the other men- 
tions already cited were evoked by Shakespeare's play. They 
refer, he thought, to an old tragedy by the same name, but by 
another author. In support of this theory, he advances much 
valuable evidence, and he advocates the piratic origin of our 
earlier edition. It would seem evident that Shakespeare, accord- 
ing to custom, taking an old play or tale for his foundation, has 
transformed a less artistic and more resolute Hamlet, who, as 
in the ancient saga, swept on to his revenge and his father's 
throne, into the thought-burdened irresolute who brings about 
his own defeat. As for "Fratricide Punished," there is nothing 
to prove its existence until some years later, in 1710. 

This German tragedy, however, is markedly like Shakespeare's 
play in many respects, being probably a vulgarization of it. Some 
critics, on the contrary, maintain the view that both the English 
and the German drama are drawn directly from the original, 
lost "Hamlet" called for convenience the "Ur-Hamlet" with- 
out bearing any other relationship to each other. At all events, 
the authorship of this "Ur-Hamlet" becomes the primary 
problem. 

One of the most common solutions ascribes the old play to 
Thomas Kyd, author of the celebrated "Spanish Tragedy." Kyd 
was a dramatist of much inventive stagecraft, who wrote plays 
of horror to suit the crude popular taste of the day. "The Span- 
ish Tragedy" won widespread approval in England, Holland and 
Germany. Hieronimo's discovery of his son's body swinging at 
a rope-end, appealed strongly to the Elizabethan imagination, as 
did his instant determination upon revenge. The revenge idea 
grew out of the Senecan tragedy in part, and from the Teutonic 
epics and sagas, as well. Like (Continued on page vii) 




The pilgrims' procession crossing to the stage of the Roman Amphitheatre at Fiesole 
THE YOUNGER SALVINI'S OPEN-AIR PERFORMANCE OF SOPHOCLES' TRAGEDY, "CEDIPUS," ON MAY 82, 1(11 



HARDLY an American travelling through Italy to-day that 
does not go to Florence ; of those, few who do not climb 
from there to Fiesole to roam about the mountain citadel 
and from its heights to see Florence surrounded by her hills. No 
visitor to Fiesole who does not cross the Piazza. Mino and go 
down the shaded side of the hill facing the north to roam among 
the ruins of the Roman ampitheatre. What a pity that all who 
have been there could not have returned to see the old ruins 
come to life once again with a tragedy of Sophocles acted by 
Salvini's son before a great crowd of nobility, strangers and 
peasants. Such an event actually happened during the celebra- 
tion of the fiftieth anniversary of Italian unity, which occurred 
in the spring of 1911. There were many "festas'' throughout 
the land. Every hamlet had a dozen or more, but none was more 
characteristic. The play in the Roman Theatre in Fiesole was 
unique. 

The Romans, during their days of triumph at Fiesole, built 
their amusement grounds on the north-facing side of the hill, 
opposite to that which commands the city of Florence. During 
the afternoon play hours the sun crossed the southern sky, and 
as it sank in the northwest the crest of the Fiesole hill-city 
threw a long, cool shadow down its northern slope. In the grace 
of that shadow the people lolled in their baths, played at their 
games or stretched themselves along the circling seats of their 
theatre in the sweetest of air as sweet and vague a combination 
of cool and warm as chiaro-scuro is of light and dimness. At 
least so it is to-day, and probably nature has not changed, even 
if the pleasure palaces have fallen, the theatre has lost its pillars 
and porticos, and down the slopes march the olive trees and the 
almond and fig instead of whatever may have been there then. 

The place is as overgrown with memories as an old wall with 
vines, and is, for that reason among others, dear to the people of 
Italy to-day. When, therefore, printed bulletins were hung in 
the streets of Florence and on the door of the Municipio and in 
the portico of the public fountain in Fiesole announcing that 
"Gustavo Salvini and a company of players chosen by him will 
present 'CEdipus' in the Roman ampitheatre at Fiesole on May 
22, ign, in honor of the Unification of Italy," word spread 
quickly throughout the kingdom and people from as far as Milan 
and Venice, and from Rome sent applications for seats. 

When the day finally came an excitable wind gave promise of 
clearness. The spring had been stormy and no day was sure. 
But uncertainty of sunlight did not hold back the crowds, 
two o'clock in the afternoon the white military road that winds 



up the Fiesole hill from Florence was black with automobiles, 
carriages, donkey carts and foot trudgers. 

Across the old Piazza Mino a cordon of brilliantly uniformed 
carabinieri were drawn up and groups of peasants from the wine 
country to the north were there to see as much as they could of 
the doings. There was to be one great personage present and 
one whom all Italy has for many years been curious about the 
Queen Mother, Margherita. When the Queen Mother's mag- 
nificent automobile swept up the ascent that led into the piazza 
and proclaimed by the silver crowns on its head lamps that it 
contained royalty, the guards drew up in double lines down the 
steep, narrow street that led to the ampitheatre's gates, and the 
populace sought roofs, garden walls and balconies. 

Red carpet had been laid down to the car's step to meet Mar- 
gherita's foot and mark her path under the theatre's low portals, 
around the high circle of its banks and down to the section re- 
served for the Queen. Those already seated and waiting rose as 
she passed, and everyone received a bow given with the royally 
intimate grace that distinguishes some of the older sovereigns of 
Europe. 

For the occasion the stage, which had long since fallen com- 
pletely to ruin, was rebuilt. So as not to look out of harmony 
with the rest of the theatre the new part dissembled its age. Its 
back wall was cracked in many places, sections of the cornice had 
fallen and moss streamed from an edge of the roof. The whole 
was made a weather-beaten color. 

Suddenly at three o'clock, when the great circle of seats was 
filled and the grass terraces at the sides were dotted with people, 
the chorus, with white robes and long white beards, filed out 
from beneath the arch under the left wing of the theatre. Strange 
music came from somewhere it was Greek music played on 
stringed instruments and the chorus crossed the open space 
chanting. They passed behind the stage, came around on the 
other side and entered the pit of the theatre, grouping themselves 
on the platform in that central point of interest in the manner of 
the chorus from time immemorial. 

Following the opening invocation by the Protagonist, CEdipus 
and the Priest came out from behind the gray wall of the stage 
and stood by one of the crumbling pillars. The play was on. 

Others came in, draped in colors that brought the gray walls 
to life. They were glowing and varied colors. The Greek soldiers 
blazed in luminous reds with the antique armor of glinting brass. 
From their high helmets gorgeous feathers sprang. The women, 
with the exception of the terrible (Continued on page viii) 




In "Madame Butterfly" 



THEATREGOERS re- 
ceived a shock last fall 
when Blanche Bates 
married George Creel, Police 
Commissioner of Denver, be- 
cause rumor then had it that 
this popular actress would re- 
tire from the stage. But in 
this case the gossips were all 
wrong. Charles Frohman 
signed Miss Bates to star 
under his management for 
five years, and she will prob- 
ably be seen at the beginning 
of next season as Beatrice in 
"Much Ado About Nothing," 
with John Drew in the role 
of Benedict. Meantime she 
has been playing in "The Witness for the Defense," on the road. 
Under the management of David Belasco, Blanche Bates has 
created a following for herself that few actresses 
enjoy. As "Nobody's Widow" she was everybody's 
widow. Her portrayal of the character of Roxana 
in Avery Hopwood's sparkling comedy was whimsi- 
cal, charming, sweet, lovable, naughty. What's more, it 
was no mere make-believe. Such a widow exists, and 
she is the exact counterpart of the one played by Miss 
Bates. She hails from Pasadena, the city of beautiful, 
young and wealthy widows. Says Miss Bates: 

"After having played Roxana for several nights, 
I went to the opera one afternoon and met her for 
the first time in the flesh. She was a sweet-faced young 
girl about twenty but who looked sixteen, and was 
draped in the deepest mourning with a strikingly ef- 
fective little touch of white in her bonnet and at the 
neck. Half under my breath, and with a start, I 
uttered, 'Roxana !' From that moment on I could 
not keep my eyes off the 'widow' I was as bad as 
the men ! I must meet her, and to my delight, after 
the opera, Geraldine Farrar introduced the real and 
the make-believe 'Roxana.' But whereas I am 'No- 
body's widow,' she was the widow of a very wealthy 
old man, whom she had married only a few months 
before and who had promptly died. She did not 
have to serve her time. But she looked really grieved, and her 
dainty little handkerchief came very much into play tears, tears, 
tears, but so sweetly beautiful. I wept, too, but with a mingled 
feeling of joy and sorrow over memories of 'The Girl,' who 







In "The Three Musketeers" 




Byron 



Blanche Bates in 
the comedy "Nobody's Widow 



1 had played for three seasons. 
"This sweet young woman. 
who was keenly sensitive, 
lovable, adorable and danger- 
ously attractive, was a living 
'Roxana,' as I had pictured 
the character in my mind. 
Only I had met her after 
playing the part. It was 
a sort of reaction. I had 
seen her in my mind and 
transplanted her to the stage 
before having seen her in 
actual life. I can only ac- 
count for this phenomenon 
because she was a widow! 
When Mr. Belasco gave me 
the part I immediately ran- 
sacked my memory for all of the widows, real and imaginary, 
that I had ever known. While rehearsing I made it a point to meet 
and see as many widows as possible. I prevailed 
upon all of my friends who knew widows to arrange 
dinners at which I could study their charms and 
wiles. Such a round-up of widows you never saw ! 
1 never knew there were so many widows at large. 
However, even this assortment kept changing a 
widow to-day, a wife again to-morrow ! There's no 
use talking, you can't keep a widow down. Before 
meeting the real, living 'Roxana' at the opera, I had 
built up the part by forming a composite character 
of nine of the ninety and nine widows I had studied. 
After seeing, observing and keenly studying this 
particular one, I was enabled to add a little touch 
here and a little touch there to my characterization, 
so that I really think I am everybody's widow, as 
you suggested. I invited this delightful little girl 
widow to come and see me play 'The W'idow,' and 
do you know when she saw my dress in the first art 
she exclaimed : 

' T must have a dress like that!' >! 
Miss Bates is a good horsewoman, and loves 
horses with that same high degree of affection that 
men show widows. A Western girl, horses were 
far from unfamiliar to her. Although born in Ore- 
gon, she calls herself a daughter of California, like so many 
other of our shining theatrical lights. And as such she was 
destined to play the Girl in "The Girl of the Golden West." 
"I found 'the Girl' on a big ranch in Northern Colorado sev- 






In "The Children of the Ghetto" 



As Cigarette in "Under Two Flags" As Yo San in "The Darling of the Gods" In "The Girl of the Golden West" 




Sarony 



BLANCHE BATES 
This well-known actress, who has signed a five-year contract with Charles Frohman, will be seen next September in a new play 



THE THEATRE MAGAZINE 



eral years before I played the part," she said. "She was not Mr. Miss Bates started to call Suki, her colored maid, then quickly 

Belasco's original, however, but she was the same magnificent stopped short and whitened a bit. 

type of true American womanhood." "Poor Suki," she moaned. "She was my maid for several 

Mr. Belasco founded the character upon a girl who lived many seasons, both before and after playing 'The Darling of the Gods ' 

years ago on a ranch in Oregon, far from a railroad or settle- Suki was the original of both my Butterfly in 'Madame Butter- 



ment, whom he had seen when a 
boy and remembered. This girl 
made an indelible mark on his 
memory, and she had to come to 
life again in a play from his pen. 
There was no way out of it. After 
reading "The Girl of the Golden 
West" to the members of the com- 
pany, Mr. Belasco painted a verbal 
picture of his Girl for Miss Bates, 
and when he had finished she said : 
"Why, that is a perfect picture 
of Lottie, of the Black Valley 
Ranch in Colorado. Lottie was 
born on the big ranch, among 
miners and ranchers. Her mother 
died when she was a baby, leaving 
her the only woman-to-be a hun- 
dred miles around. There was not 
even a squaw to cook for the men. 
Soon Lottie's father, a rough miner, 
who had turned cow-puncher after 
failing to 'strike,' died. The tiny 
girl was adopted and brought up 
by the men, 'real men, men of 
blood, not of gold, like so many of 
your Eastern men,' " said the 
daughter of California. "As she 
grew up she cooked for the men, 
and kept their money in her 'hos- 
iery' bank. And in time she came 
to hold a strong influence over 
them she ruled these rough-and- 
ready men of the plains in a way 
that would make any king green 
with envy. They staked their lives 
on her. I first saw Lottie after my 
third season playing Yo-San in 
The Darling of the Gods.' I had 
gone to the Black Valley Ranch to 
recuperate, and I became intensely 
interested in this true child of na- 




Copy right Charles Frohman 

Joseph Cawthorn and Julia Sanderson in "The Sunshine Girl" 



fly' and Yo-San in 'The Darling of 
the Gods.' Our talking about the 
old plays brought back memories 
of her. She died a few seasons 
ago. Suki was one of those Cali- 
fornia Japanese who was not 
coarse in her humility, like most of 
the lower class Japanese as we find 
them on the Coast. She greatly 
aided both Mr. Belasco and me 
when these two Japanese plays 
were produced. She became my 
maid when I was playing in 'Under 
Two Flags' in San Francisco. 
From her I learned how to fan 
myself in true Japanese fashion, 
and, more important still, how to 
walk 'Japanesely.' Suki also taught 
me the proper way to sit down and 
to get up, to hold a cup of tea in 
my hand and to sip the tea, and the 
hundred-and-one little things that 
Japanese women do that, all added 
together, make them the most fas- 
cinatingly interesting women on 
earth. She taught me how to gain 
a Japanese accent with English 
words, by certain little inflections 
of the voice, thereby giving a Jap- 
anese swing to the lines and 
showed me the A, B, C's of Geisha- 
girl coquetry. And she helped me 
in my makeup to such an extent, 
in the part of Yo-San, especially, 
that on more than one occasion I 
was mistaken for Suki by different 
members of the company while 
standing in the wings ! 

"Dear little Butterfly, the sweet- 
est part I ever played, and I copied 
Suki in every particular for my 
portrayal," she continued. "She 



ture, this woman among men! We were the only women on the always had a frightened way about her that was sweetly pathetic, 

ranch, or in that country for miles around, and I learned how as though her head was always under a sword, 

to handle men of the rougher sort from their queen for such was "I will never forget her show of deep emotion and anguish 

Lottie to them. And, too, that reminds me. That 'taking' bit of when she received a letter from her brother telling her of the 

'business' that made such a hit in 'Nobody's Widow' 'on the torture to death of her lover in far-away Japan on the eve of his 

spot' was imported from this ranch. When one of 'the boys' departure to join her in San Francisco. She cried all that after- 

would overstep the bounds, either by using profane language or noon it was a matinee day and all during the evening per- 

cheating at cards, the others would make him get down on his formance crouched beside my trunk in the dressing room. That 

knees 'on the spot' before Lottie and apologize and beg her for- was during the last days of 'Under Two Flags.' Later, in 

giveness. So when 'The Girl of the Golden West' was put on I 'Madame Butterfly,' in the scene where poor little Butterfly kills 

summoned my recollections of Lottie together, and remembering herself. I tried my best to be poor Suki over again when she 
that she had given me one of her dresses to wear while on the 
ranch, and that I had asked permission to take it away with me 



received that letter. At every performance Suki would watch 
me most carefully from the wings she seemed to be made happy 
when I left, I hurried to the attic and dumped out the contents over having that sad memory brought back to her. Again, in 
of three or four trunks, finding at last the dress. Then I en- The Darling of the Gods,' I made use of the same anguishing 
deavored to get 'under the skin' of the part, and did get in 'the touch in the chamber of horrors scene. It was Suki that I was 



Girl's' clothes. Save for the lines in the piece, that scene between 
Jack Ranee, played so strongly and picturesquely by Frank 
Keenan, and myself at the bar, was taken in every gesture from 
a scene I had witnessed in actual life between Lottie and the 
sheriff of Black Valley. Really an actor or actress never knows 
when a happening in actual life in which they are interested 
to-day may be a stage scene to-morrow." 



playing. Suki, Suki !" 

"And Cigarette?" 

"She was just a dear little dream creature," answered Miss 
Bates. "But I did get a sort of inspiration and many points for 
makeup and for expression, too, from that wonderful painting 
of Joan of Arc in the Metropolitan Museum of Art. Every day 
for weeks and weeks, both before (Continued on page viii) 



HOW do actors remember all they have to say? How do 
they memorize their lines ? Few, doubtless, are endowed 
with such a splendid memory as was Antonio Maglia- 
bechi, of Florence, who, having returned a borrowed manuscript 
and hearing it had been lost, repeated its entire contents. The 
summer girl has a difficult task to tell what is the story of a 
novel she has just skipped through! Yet these actors and 
actresses can take their prompt books and commit to memory 
play after play; not only the part they are to enact, but often 
every part in the production. 

The present writer asked Billie Burke what method she had 
for commanding her memory as ably as Paul Cinquevelli com- 
manded his nerves. She replied : 

"My method of memorizing is first to study the sense, then 
each phrase, and then the words, until I know them almost 
backwards." 

At that time Miss Burke, if I remember rightly, had imper- 
sonated exactly ten characters, much of her earlier stage career 
having been given to singing in vaudeville. How many of these 
roles had she so thoroughly learned as to be able to go on with- 
out rehearsal? 

"I think," she answered promptly, "I could play the parts 
without rehearsals." 

It may be that Miss Burke and some others can be placed 
in Victor Hugo's class. The great poet is said to have had 
command of eight thousand words at will, and this despite the 
fact that the average person does not use more than three thou- 
sand and the professional writer's supply seldom exceeds five 
thousand. Hugo's memory may have been excellent, but even 
he was excelled in this respect by Dr. Joseph Leidy, for years 
president of the Academy of Natural Science of Philadelphia, 
who was able to use, on the spur of the moment, any of twenty- 
five thousand words what he knew of four languages, including 
English, medicine, geography, geology and a general science 
together with many technical words. 

Such figures bewilder one. How is it possible to possess such 
a wonderful memory? Of course, the cases cited are abnormal, 
for you must know what memory is: The mental capacity of 
retaining unconscious traces of conscious impressions or states, 
and of recalling these traces to consciousness with their attendant 
perception that they (or their objects) have a certain relation to 
the past. How is this capacity utilized? The actors furnish us 
with our best examples : 

When the musical-comic actor, Jefferson De Angelis. was 
asked what his method of retention was, he said, in a semi- 
humorous way : 

"I have no particular method of memorizing. I merely read 
my part over several times, and then decide that 1 have memor- 
ized it. I have no idea of the number of parts I have studied 
and played, but I am sure I could not appear in any of them 
without rehearsals and much study." 

Two instances can be cited where, for the purpose of memor- 
izing, vastly dissimilar means were used to obtain a similar 
result: Years ago Brandon Tynan, who played Joseph in 
"Joseph and His Brethren," belonged to a stock company up 
State. Afternoon and evening performances were demanded, 
yet every morning, weather permitting and before rehearsal 
time. Tynan could be seen strolling along a street that led out 
to the country a street of quiet lawns and shade trees book in 
hand, committing to memory the lines for the week after the 
week following (the rehearsals for the next week's play began 
on the same day that a new play was put on ; that is, a week in 
advance). With the lines of his role in "The Charity Ball" 
firmly fixed, with the lines for his characterization of Jacques in 
"The Two Orphans" perfected to rehearsal precision he woulf 4 
be getting acquainted with the speeches of Little Billee in 




Strauss-Peyton 



MARGARET ANGLIN 
Recently seen in Edward Sheldon's play, "Egypt" 



"Trilby," or perhaps it was a part in "A Social Highwayman." 
When asked why he chose that certain stroll, the actor replied: 
"For solitude. I'm away from everything, everybody and 
everywhere." 

Some people have queer ideas as to what constitutes "solitude." 
Recently, in the subway in New York, four young actresses 
entered, seated themselves and began to peruse their inevitable 
prompt books. It was a noisy environment and the car was 
crowded, yet, answering a question, one young woman replied 



26 



THE THEATRE MAGAZINE 




Mishliin 



ALLA NAZIMOVA, WHO IS NOW APPEARING AS MRS. CHEPSTOW IN "BELLA DONNA" 



that they chose the subway for well, its solitude. It was so 
noisy no one could interrupt them ; and as they had grown ac- 
customed to the noise they didn't mind it. 

And while the more frivolous of the chorus are enjoying their 
lobster suppers, the chances are ten to one the curious investigator 
will find some ambitious member of the same chorus, a man or 
woman, who has been entrusted with a speaking part, standing 
'neath the glimmer of an arc light memorizing. They study hard, 
patiently, but when they've got their lines they've got them. 

Edwin Stevens used to say : "An actor to be successful must 
tlioroughly learn all his roles. I've played over two hundred, 
and I may truthfully say I was letter perfect in all of them." 

Here, then, was a mentality surpassing 
the abnormal. I asked how many 
of these roles he could put on without 
rehearsal. 

"An absurd question," he replied with 
a smile. "No one can play roles without 
rehearsals, as others in the cast are to be 
considered and your individual 'business' 
demands the team work to give artistic 
performance." 

This would seem paradoxical but for 
the hidden hint that the rehearsal would 
"brush" the actor up in his part. But at 
the same time the method taken to learn 
the lines was worth knowing. 

"My method is photographic," an- 
swered the comedian dryly and leaving 



jpajtmotja in 15dla SDonna 

Cursed with the thrall of the body, 
Kin to the snake in the dust, 

Kin to the dank flower of passion, 
Salome, Lilith and lust. 

Trailing her way through the shadows 
(God give us pity for this!) 

Faint with her own self-brewed poison 
Poison that lurks in her kiss. 

Shamed and degraded, an outcast, 
Baffled by sudden-closed door, 

Trailing her way through the shadows, 
Ever and forever more. 

ANNE PEACOCK. 



me to guess as best I could exactly what his words meant. 
Frank Sheridan, whose long-awaited success came with his 

performance of Capt. Williams in Eugene Walter's play, "Paid 

in Full," has the same method. 

"I photograph the speech on my brain, with the aid of a general 

idea of the subject that 1 get from rehearsals and the reading 

of the part." 

Air. Sheridan believes thoroughly in stock company training. 

He has "stocked" and "barnstormed" all over the country. 
Arnold Daly says he never takes a part that is uncongenial to 

him. But, absorbed as Mr. Daly becomes in characters he likes. 

he admitted that he could not attempt to play any of them 
without many painstaking rehearsals. 

It is a well-known fact that much pains 
as actors take to learn their roles, they 
forget the lines of a certain role almost 
as soon as they stop playing that charac- 
ter. The actor's memory is indeed like a 
sponge. It can absorb and retain until 
the absorption is no longer necessary ; 
then it can be squeezed dry and prepared 
to receive other absorption. And. like the 
sponge, it will absorb the more readily 
after it has been frequently used in such 
a process. Thus far. then, the apparently 
surprising memory of actors can be ex- 
plained on psychological lines, as being 
associated thought treading the line of 
least resistance. JESSE G. CLARE. 



I 



WHEN the layman reads the above title 
he may be led to believe that the writer 
is about to discuss dry goods, boots, 
shoes or groceries. Nothing of the kind. "In 
Stock" deals with the stage and is the technical 
term for a special field of vast importance to the 
theatre-going public, to playwiights, theatre 
owners and managers. 

When a play is first produced the manager is 
called upon by contract to give the play a hear- 
ing in a theatre of the first class on or before a 
certain date, which means a theatre in which the 
scale of prices is from 50 cents to $2.00 in New 
York. Outside of New York the scale of prices 
for most attractions, except for the great stars, 
is 25 cents to $1.50. The first half of the life of 
the successful play is about three years, and the 
country is so huge that during this period there 
may be from two to five companies playing this 
particular play all over the United States and 
Canada. This period brings the piece to the end 
of its days in the first-class houses. 

It next goes into "stock," which is the second 
half of the life of every successful play. Let it 
be said here that the dramatist's contract with his 
manager may read "exclusive road rights," or 
"exclusive rights for United States and Canada." 
If the former, the manager controls the piece for 
the entire country, so long as he gives fifty per- 
formances in each season in a first-class theatre. 
Under this contract the author could not resume 
control of his play until the manager had de- 
faulted on the fifty performances, but if the 
author's contract reads "Exclusive right," this 
means "stock rights" as well as "road rights" to 
the producing manager. 

But this is a much-mooted point as between 
manager and playwright, and has led to more 
than one lawsuit. Of course, in every case the 
royalty follows the flag, as it were. 

At present writing there are at least one hundred and fifty 
stock companies in the country, divided into two classes : "Travel- 
ling Stock Companies" and those marked "Indefinite," which 
means that this "stock" is a fixture in that particular city. While 
some of these companies never close, an average season in a stock 
house is forty weeks, and as a new play is produced every week, 
this means that there are about one hundred and fifty plays a 
week produced all over the country and for the entire season 
about 6,000 acted weeks and probably about half that number 
of plays handled, because certain plays are in such demand that 
they are acted every week somewhere. Of these organizations, 
The Castle Square Stock Company of Boston is the oldest in point 
of continued existence. It never closes. It was through the build- 
ing of this theatre that Col. Henry W. Savage got into the theatri- 
cal business. He is a Harvard graduate and an architect by pro- 
fession. 

The Castle Square Theatre and Hotel was a speculative ven- 
ture on the part of himself and friends, but when it was built it 
had no street car facilities, and was then so far out of the way 
that the attractions playing there fared very badly. Col. Savage 
was compelled to take the matter into his own hands and put 
into shape the Savage Grand Opera Co., at 50 cents for the best 
seats. This was the beginning of a very successful career for the 
theatre. 

For one reason or another the stock idea has never flourished 




Photo Hall 
The most popular 



PRISCILLA KNOWLES 

actress in stock, with the astonishing record of three years' consecutive perform- 
ances at the Academy of Music 

on the Island of Manhattan. It has been tried at the Columbus, 
American, Murray Hill, Sherman Square, Academy of Music, 
but with the exception of the Academy of Music none of them 
has hung on very long. 

Per contra, Brooklyn has been the stamping ground for stock 
companies and now the Bronx has two flourishing "stocks" and 
more to come. White Plains and Staten Island have their own 
"stocks," all of which are really Greater New York so far as 
amusements are concerned. But right on the Island of Manhat- 
tan the theatre-going public is so accustomed to the new play that 
there is not much attraction in the play that is from one to three 
seasons' old. Yet. according to expert calculation, every seven 
years produces a new public, boys and girls grown to be men and 
women, but perhaps as potent a factor as any in making a popular 
price stock house in Manhattan a business impossibility is the 
high cost of the land, and therefore a huge rent which wipes out 
the profits. 

In the average town the rent that the manager can afford to 
pay for a theatre for stock use is about $400 a week. Contrast 
that with theatre rents in New York, i. e., about $i,ooo to $1,500 
a week, and. of course, the profit would disappear in these figures. 
The Murray Hill, belonging to the Goelet Estate, had a rental of 
$24.000, and, as it is a small house, even when packed, the manager 
made nothing. With the above rent ($400, or even less) the 
manager can run his entire enterprise, including the company's 



THE THEATRE MAGAZINE 



White 



salaries, orchestra, all salaries back of the curtain line and the 
front of the house, advertising, bill posting, show printing, and an 
average royalty of about $300 a week. His average business, 
about $3 500, showing a profit for forty weeks of $20,000, not 
excessive for the risk assumed. 

The stock company theatres have 
been a perfect godsend to the 
owners of theatre property through- 
out the country. The moving-pic- 
tures and the cheap vaudeville 
houses have wiped out of existence 
what were known as the "popular 
priced houses," i. e., those theatres 
whose scale of prices is from 25 
cents to $1.00 in the boxes. These 
theatres were largely given over to 
cheap melodramas, but the melo- 
drama became so tawdry and lurid 
that they wore out their welcome, 
and most of the theatres they oc- 
cupied are now stock houses. 

Brooklyn leads the country now 
in the number of its stock com- 
panies, having five ; New York, in- 
cluding the Bronx, three; Philadel- 
phia, four; Boston, two; Chicago, 
four; Wichita, Los Angeles, each 
two; Pittsburgh, at one time a 
great stock company centre, now 
has only one. These represent the "Winter Stocks." As soon 
as the regular theatrical season ends on June 1st the "Summer 
Stocks" spring into life, over 100 being added to the regular list, 
extending all the way from Peck's Island, Portland Harbor, 
Maine, where there is a famous "stock," taking in all the country 
clear up into Vancouver and British Columbia and as far south as 
New Orleans, where there is one stock company that never closes. 

Brooklyn was the vantage point for several seasons of the very 
talented Spooner family, consisting of Mrs. Spooner and her 
two daughters, Edna and Cecil. These player-folk had been 
originally known as "repertoire people," playing the smaller towns 
for a week at a time, giving fourteen performances a week and a 
different play at each performance, the scale of prices being 10, 
20 and 30 cents, known in the profession as "10-20-30 centers." 
Even at these prices they accumulated consid- 
erable money. But the whole family acted, in- 
cluding the father and a son. The latter, a boy 
about eighteen, wore a handsome gold-laced 
uniform, and between acts sold photos of the 
family in the lobby of the theatre. As soon as 
the curtain rose he came on and played the 
"bits," and no matter which play it was the 
same star-spangled uniform clothed him. These 
people were wonderfully clever at advertising 
themselves. After each matinee performance 
they raised the curtain and held a reception on 
the stage to the entire audience, and it took an 
able-bodied policeman to keep the women in 
check and to prevent them rushing pell-mell on 
the stage in order to shake hands with a real 
actress. Strawberryade was also served at these 
receptions and ladled out to all comers by one 
of the ladies of the cast. Their second week in 
Brooklyn they put on as the bill a play they had 
had in repertoire on the road, and upon the 
evening in question they invited the author to 
come over and see them act his play, something he had never seen 
them do. When he reached Brooklyn he found the play an- 
nounced as having been produced under his personal direction. 
He had seen only one rehearsal. At the close of the third act it 
is usual in these stock houses for the leading man to appear be- 




OZA WALDROP 



Appearing with the Manhattan Players at the Lyceum Theatre, 
Rochester, N. Y. 




Gould & Marsden 

WILLARD WEBSTER 
Who plays juvenile parts in stock at 
Union Hill, N. J. 



fore the curtain, make a speech and announce the play for the 
coming week. In the middle of this speech the author felt his 
sleeve tugged at and heard the head usher say that "Mrs. Spooner 
wants to see you on the stage at once." Off he rushed to reach 

the first entrance just in time to 
hear the leading man announce in 
graceful terms that the distin- 
guished author being present would 
now address the audience, and be- 
fore he realized it the unhappy 
playwright was facing a packed 
house, making his maiden speech. 

The summer "stocks" are frequent- 
ly augmented in drawing powers 
by the visits of distinguished actors 
from the regular ranks who figure 
as "stock stars'' and play engage- 
ments of from two to four weeks 
in each city, receiving often as 
much as $1,000 a week for their 
services. Prominent among those 
who have appeared in this way 
have been James K. Hackett, Char- 
lotte Walker, Richard Bennett, 
.Margaret Illington, Arnold Daly, 
Max Figman, Amelia Bingham, 
Rose Stahl, Nat. C. Goodwin, and 
many others. Ellitch's Gardens in 
Denver and Suburban Gardens in 
St. Louis, and the entire Pacific Coast, are favorite points for 
the star in summer "stocks." 

In most cases these "stocks" give fourteen performances a 
week, a matinee every day ; others only nine performances, in- 
cluding three matinees. The companies rehearse all morning, and 
each actor is expected to come "letter perfect" and rehearse with- 
out his part on Thursday morning. Dress rehearsals are held on 
Sunday mornings. 

The lazy mind has no conception of the amount of work 
entailed upon the actor. At each performance he is acting in 
a play that may be new to him. Between acts, while making 
his change, he has the manuscript of his part spread out on his 
dressing table, conning his lines in the next act, and all morning 
he is working hard on the new play for the following week. 

In the old stock days it was quite different. 
Each actor had in his repertoire certain parts in 
which he was accustomed to play season after 
season, but to-day the actor must do such quick 
study that he can get ready in six clays' re- 
hearsals a part he has never played in a play he 
has never seen. A good many actors shy at the 
work of "two a day," and claim that "in stock" 
breeds careless ways and is a bar to progress 
in the art of acting. But like all other conditions 
in life, this depends upon the individual. It is 
true that the stage managers save no time to 
develop actors nor correct faults at rehearsals, 
still "in stock" is an enormous opportunity for 
the young actor. When it is remembered that 
such stars as Dorothy Donnelly, Grace George 
and Frances Starr are graduates of "in stock" 
companies, one has sufficient evidence of a sur- 
vival of the fittest. 

In the stock companies of to-day the leading 
man and the leading woman receive from $100 
to $200 a week. If the leading man is a "good- 
looker," a "good dresser," he earns his money because the women 
patrons of these houses still have romantic ideas of the hero 
behind the footlights. After any matinee at one of these stock 
houses a mob of women may be seen about the stage door waiting 
for the leading man to make his exit. And when he comes their 



THE THE/tTRE MAGAZINE 



admiration takes the form of silent adoration and not uncom- 
monly an humble posey thrown at his feet. These women are 
on a par in lunacy with the "Johnnies" who frequent the stage 
door of the musical shows. 

One of the great requisites that 
the stock manager demands is that 
the people of the company shall be 
good dressers on and off the stage 
and that they shall comport them- 
selves in private life as ladies and 
gentlemen. These companies are 
local institutions, the members of 
each company are local favorites, 
and each actor as he enters at each 
performance gets his "hand," and 
the entire organization must have 
the trade mark of good conduct or 
they forfeit the respect of the com- 
munity and the theatre loses its 
business. 

An actor engaged for Stock must 
have a wardrobe to dress anything. 
A glance at a week's schedule 
shows a vast variety of plays run- 
ning the gamut from "East Lynne" 
through "Arsene Lupin," "Dorothy 
Vernon," "Barbara Frietchie," "The 
Awakening of Helena Ritchie," 
"The Chorus Lady," "Old Curios- 
ity Shop," "Faust," "Raffles," 
"The Girl of the Golden West" to 
"Convict 999," and as the plays 
that are in demand usually swing 
round the circle, it will seem from 
our list herewith that an "In 
Stock'' wardrobe is an elaborate 
outfit and the investment of a great 
deal of money, particularly for the 
leading lady. There are also some 
amusing results of incongruities in 
costuming plays, particularly when 
they stage a war play ; then hand 
uniforms, policemen and postmen 
discards are plentifully mixed up 
as U. S. A. and C. S. A., and the 
results would make the authorities 
at the Gray's Ferry Arsenal in 
Philadelphia have fits. As to what 
is called the "production" scenery, 
properties, etc., the old-established 
Square in Boston ; Orpheum Players at the Chestnut Street 
Theatre, Philadelphia; the Alcazar in San Francisco; Marlowe 
in Chicago; Belasco and Burbank in Los Angeles maintain a 
fine staff of scene painters and stage carpenters, and can and do 
stage all of their productions upon a fine scale, sometimes putting 
on Shakespeare in first-class style. 

The vast importance to the author of this stock system cannot 
be overestimated. Even when a play has only been partially 
successful on the road it has a career "In Stock," because the 
demand for the play that is new to these stock audiences is in- 
cessant. "The Prisoner of Zenda" brought as royalty one thou- 
sand dollars a week in stock, which included use of uniforms, 
scenery, etc. "The Lion and the Mouse," "Paid in Full," "The 
Squaw Man." "The Girl of the Golden West" from $500 to 
$1,000 a week. It varies according to the size of the city. Boston 
can pay more than Worcester, Philadelphia more than Williams- 
port, Brooklyn or the Bronx more than White Plains, Chicago 
more than Wichita, San Francisco and Los Angeles more than 
Oakland, and so on. 

A play that is valuable in stock can easily bring a play- 




White 



SALLIE 
Recently seen in the 



'Stocks" such as the Castle 



wright $50,000. A low average price for the first two years of 
a play in stock would be $500 a week. Of course some companies 
will not do it ; but there are at least fifty of them that will grab 

at it. That is $25,500, and then 
come the secondary and summer 
stocks, and after these the reper- 
toire companies and the stock stars 
There is no end to the money com- 
ing to the author. All of this busi- 
ness is transacted through the play- 
brokers, who are paid a commission 
of ten per cent for their services. 
It is astonishing how many women 
succeed in this work. The Amer- 
ican Play Company has Miss Eliza- 
beth Marbury as president a.ivl 
Miss Helen Tyler as manager; 
then come Miss AJice Kauser, 
Mrs. H. C. de Mille, Miss Fitz- 
gerald, who runs Wm. A. Brady'* 
Play Bureau; Mrs. Helen McCaf- 
frey (Nellie Lingard of the old 
days), and then a string of male 
agents : John W. Rumsey, Selwyn 
& Company, Sanger & Jordan. 
Darcy & Walford, and A. Milo 
Bennett in Chicago, and playbrokers 
in nearly every first-class city in the 
country, and some whose only 
clientele are the play pirates. 

A much-favored royalty plan for 
in stock is a fixed percentage of 
five or ten per cent of the gross 
receipts for the week, with a guar- 
antee that the royalty shall not be 
less than $25o-$soo. All these 
terms vary according to the 
capacity of the theatre to pay. 

Of course these high royalties 
cannot be paid by all of the 
"Stocks." Many of them wait un- 
til the play is several years old and 
then get the best plays as low as 
$100 or even less. It is wonderful 
that towns like Paducah, Ky., 
Franklin, La., and Bayonne, N. J., 
can support a "Stock" at all. The 
best stock houses will see to it that 
in the bad weeks for business, such 

as Holy Week and the week before Christmas, the royalty is on 
a cheaper basis. 

Any play that has had a life of three years in the first-class 
houses will bring the author $10,000 a year for several years, 
and if he does not treat it as income, but passes it to a capital 
account, he soon becomes a very rich man. Charles Klein has 
received in stock royalties in two and a half seasons for "The 
Lion and the Mouse" alone over $30000. Augustus Thomas 
received from a playbroker for his old plays a three-year con- 
tract, $8,000 a year, and on top of this the broker made his profit. 
The bed rocks upon which this "In Stock" system is built are: 
First, the up-coming generation who wishes to see the plays that 
were their parents' favorites ; second, their subscription system. 
This system grew to a flourishing status, first at the Forepaugh's 
Opera House in Philadelphia, where it was the outgrowth of 
another system known as the "benefit system." This consisted 
of various social societies engaging to sell seats for their own 
benefit on certain nights in the week at the first-class theatres 
whereby these societies received a substantial "rake off." But 
this benefit system has been so much abused that many of the 
first-class road attractions refuse to allow it. Here are some 



FISHER 
title role of 



"Eva" 



THE THEATRE MAGAZINE 



figures that are a revelation. 
The Castle Square Theatre in 
Boston has a scale of prices 
for matinees I5c., 2^c. and 
5oc. ; for evenings isc., 2$c., 
5oc., 75c. and $1.00. It has a 
seating capacity of 1,835 an ^ 
plays to $7,000 a week. It has 
a company of nineteen people 
besides office staff, stage car- 
penters, scenic artists, property 
men and wardrobe mistresses ; 
in all about forty people. It 
has a subscription list of 4,100 
persons. This means a nucleus 
of an audience for the entire 
week. Strictly speaking these 
houses are a survival of the 
old-time "family houses," 
where people go en bloc, send- 
ing their sons and daughters, 
because they know that what 
they are to see is worth the 
money and that it is sure to be 
a clean, wholesome entertain- 
ment. The hold these "In 
Stock" houses have upon their 
patrons is something re- 
markable. Subscribers retain 
their seats from year to year, 
paying for them in advance, at 
a small discount. 

In the Bronx, New York, 
the Metropolis Theatre, with 
Cecil Spooner as stock star, has 
a subscription list of . 7,500 
with gross receipts a week of 
$6,000. 

There have been many 
movements set on foot to form 
circuit among these "In Stock" 
houses to develop new plays, 
but so far without success. 
There is too much divergence 
of opinion among the man- 
agers as to what should be pro- 
duced and also too much petty 
jealousy to prevent them de- 
ciding upon any play. But 
there are individual producers 
of new plays at these houses, 
notably Mr. John Craig, man- 
ager and leading man of the 
Castle Square Theatre, Boston ; 
Fred Belasco (brother of 
David) of the Alcazar, San 
Francisco ; and Blackwood and 
Morosco of the Belasco and Burbank Theatres, Los Angeles, 
California. Some of the plays so produced and that have become 
famous are "The End of the Bridge," "The Tenderfoot," "The 
Dollar Mark," "The Arab," "The Country Boy," "Bought and 
Paid For," "The Price," "The Man of the Hour," etc. 

Some of the "travelling stocks" make use of some odd ex- 
pedients when business is bad and hard-hearted show printers 
will not deliver any show print except "C. O. D." One of these 
managers with a fertile imagination supplied himself with a stock 
of chalk and instead of papering the dead walls of the town, 
chalked his own name and that of his company all over the pave- 
ments of the town until stopped by the police. A travelling stock 
star had all of his company capable of playing some kind of a 





Matzene 



LAURA HOPE CREWS 
Lately seen in "Her First Divorce," at the Comedy 



band instrument, and upon his 
arrival in each town was met 
at the station by an open hack, 
gayly decorated with flags, 
paid for with "comps." to the 
hack-driver's entire family, 
and headed by the band and 
followed by the ladies of the 
company, also in flag-bedecked 
carriages, to the local hotel, 
where, after registering for 
himself and the entire com- 
pany, he always drew a roll of 
stage money from his pocket 
wrapped with one genuine $i 
bill, and handing it ostenta- 
tiously to his manager so that 
the gaping crowd that had fol- 
lowed the band and the show 
people might see it. said : 

"Use this when it will do 
the most good." 

This man is now a prom- 
inent "In Stock" manager in 
Brooklyn. 

The stage manager of these 
"In Stock'' houses is about the 
hardest-worked individual of 
the entire organization. He 
must cast each play from the 
people he has. He is not in 
New York where he can get a 
recruit in half an hour; he 
must make out all the plots, 
property, calcium, electric, line 
and scene plots ; sometimes 
these are furnished with the 
Mss., or are part of it, but not 
always. He is rehearsing one 
play and making ready to "put 
on" the next. But when a 
"super" play (a play with 
supers) is on the schedule then 
woe is his lot. You may teach 
a horse his part in three days, 
but a lot of supers, recruited 
from grocery boys, etc., are 
just plain everyday lunkheads. 
They were rehearsing a polit- 
ical play in a stock house in 
which the candidate read his 
letter of acceptance to the 
County Committee and a num- 
ber of "supers" had recruited 
as described. At one point the 
"C.C." were to become at 
a given cue so enthusiastic at 
the candidate's remarks that they were to cheer vociferously three 
times and the candidate was to pause until the excitement died 
down. The stage manager had found this lot of "supers" unusu- 
ally stupid, so he arranged that when they entered they were to 
plant themselves in front of the fireplace and he stationed him- 
self behind the chimneyplace so that he could prompt them 
in case they should not "pick up" properly their cue with the! 
cheers. The candidate swung into his peroration and the time 
came for the cheers, but not a whoop, at which the stage manager 
from behind the scenery called out to them : "Cheer, cheer, cheer !" 
whereupon the entire County Committee fell on their hands and 
knees and looked and cheered up the chimney. Then the curtain 
fell as the audience yelled. HARRY P. MAWSON. 




White 



ROBERT HIM.IARD 
This popular actor has been appearing as Detective Asche Kayton in "The Argyle Case," at the Criterion 



The Annfth 


OT aft a "Flirsft Mngkt" 




Moffett 



MARJORIE WOOD 
Who played the role of Wanda in "The Woman" on the road 



IN the theatre lobby, after the third act, the Unproduced 
Dramatist ran into the Successful Playwright, who had just 
escaped from the stage after responding to three curtain calls 
and ferocious, not to say bloodthirsty, demands for a "Speech !" 
The play was a success. There seemed to be no question about 
that, for, aside from the noisy, undiscriminating applause, almost 
inevitable at "first nights" in New York, which had brought out 
all the leading members of the cast, as well as the author, there 
was the testimony of the scraps of favorable comment to be 
heard on all sides as the entr'acte crowd moved out for a cigarette 
and fresh air. 

"Good speech of yours, old man !" observed the Unproduced 
Dramatist to the Playwright. "Sounded extempore, too. I can 



understand that a man is inspired to 'orate' well when he has 

just heard his lines spoken and seen his original ideas worked out 
before the footlights by a good company, and realizes that his 
play has made a hit. I envy you your feelings to-night." 

The playwright shrugged his shoulders as the two went into 
the smoking-room and lighted up. 

"So you think there's pleasure in hearing and seeing the first 
performance of your play, do you? Wait till that one of yours 
is put on and you will find out." 

There was no mistaking the irony and disgust in the Success- 
ful Playwright's tones, and the fact that he pulled furiously at 
his cigarette, instead of inhaling with the tired placidity which 
good form in cigarette-smoking demands, gave powerful token of 
inward perturbation. 

"I flattered myself this play of mine was actor-proof," he went 
on. "Not only was I careful that the plot should be as well built 
and logical as I could do it, that the interest should be cumulative, 
the suspense unbroken, and the climaxes unforced as well as 
powerful, but I took particular pains with the dialogue. In these 
'problem plays,' as they call them, what the characters say is 
even more important than what they do, and of equal importance 
is the way they say it. So I labored at my speeches harder 
than I ever did before. I wrote and rewrote, and I always recited 
the lines over and over to make sure that the proper inflection 
came so easily that it would be hardly possible for them to be 
read in any other way. Of course, the stage director wanted to 
change most of them. Stage directors always do. They think 
they can write better dialogue than the author." 

He looked around to see if there happened to be a stage direc- 
tor within hearing. There wasn't, and he went on : 

"Fortunately, I have had enough plays put on and made good 
with them to insist on having my own way. So. with a few 
exceptions to each of which I had consented, for I am always 
open to conviction, you know my dialogue was not interfered 
with." 

"The actors speak it as you wrote it, then?" 

"No confound them !" roared the Successful Playwright. 
"That's exactly what they don't do. There was hardly an effec- 
tive speech in those three acts to-night that was not spoiled in 
the delivery. I have not attended many of the rehearsals. No 
author should, if he has any respect for his nerves. So the statje 
director and the actors worked their own sweet will in my 
absence, and the result is what you have just heard in the three 
acts they have done." 

"The dialogue seemed to me particularly graceful." ventured 
the Unproduced Dramatist, "and I thought every 'point' was 
driven home." 

"If you had read the script you wouldn't say so. The wav 
they riddled my lines was maddening:. Different meanings have 
been read into the text until it is all a muddle, and over and over 
again I wanted to go back on the sta^e. lick the leading man 
and the principal comedian particularly the latter and ring 
down the eurtain. As it was. I could only sit in front. l : sten and 
wonder what would be the next outrage. 1 believe I have a fair 
acquaintance with the English language, and I chose my words 
most carefully in writing the lines, so that the speech of each 
character should reflect something of his or her habit of mind 
as is the case in real life. Well, you heard what those people 
back there did with the dialogue. Expressive? Not a bit of it! 
Most of it sounded like a man reading proof on a country news- 
paper." 

The Successful Playwright took another cigarette, but he was 
so angry he couldn't hold the match still enough to get a light. 
as he growled : 

"And you think it is pleasant for an author to be present on 
the opening night of his play ! I tell you it is anguish. And the 
hard part of it is that you can't do anvthing. There you are. in 
the audience, while the actors blunder on in their smirking, 
fatuous way, murdering your lines, smothering your dramatic 
situations and wrenching your plot out of joint, at every angle. 
Nothing can stop an actor when he (Continued on page vii) 



THE THEATRE MAGAZINE 




Photo Sarony 



MARY BOLAND 
Who h been appearing with John Drew in Alfred Sutro's comedy, "The Perplexed H-b.nd" 







White 



HOPE LATHAM 
Who is to be seen shortly in Hurt Sayit's IKW play, "Ransomed 11 



ONCE, when serving as a play 
reviewer, the present writer 
took occasion to praise a cer- 
tain character actor who has since made his final exit from the 
boards. He was portraying a ferocious, brutal type, and, in the 
course of the action, he ate, or rather devoured, a meal. To his 
appropriate manner of feeding I called special attention, point- 
ing out that both observation and skill had entered into the 
manner in which 

"O'er joint and gristle and padded paw 
He fought and clawed and tore,'' 

growling the while with all the savagery of the Hyrcan tiger. 
A year or so later, falling in with this same player, I had him 
out to dinner. Imagine my if not amazement, at least amuse- 
ment when I observed that in private life the gentleman ate 
exactly as did his brutal stage characterization. 

There is philosophy in this anecdote, if only one can find it 
out. Of course, a long process of playing similar brutal roles 
may have had its unconscious effect upon the actor in question. 
We hear much nowadays about the reactions of the part upon 
the player ; and perhaps this is a case in point. The odds to the 
contrary, however, are great. Anyone who might have watched 
this particular (thought not too particular) actor during his 
career would have observed that he succeeded only in raw, crude 
brute-force characterizations ; that, whereas he several times 
essayed very different, subtle, refined roles, in these he promptly 
and invariably failed. 

And then, if one were to make a study of the "art" or the 
methods of this mummer, one would quickly note that he played 
all parts practically the same; that such differentiation as he 
accorded to his various efforts was no more than that which the 
veriest beginner in acting would essay. Putting all the facts 
together, one would reach the obvious conclusion that this player 
played only himself with merely minor variations. And yet he 
ranked high in histrionic circles ; he was sought after by man- 
agers and reckoned one of our most important near-stars. 



If this instance were an excep- 
tional one, it would, of course, be 
insignificant. Manifestly, however, 

it is not exceptional. There is common complaint from critics 
and patrons of the theatre everywhere that far too lari^e a pro- 
portion of our acting to-day is like that which I have just de- 
scribed. "Looking the part" has grown to be the first essential 
in all acting a result, of course, of our wild goose chase after 
the evasive bubble of realism. Time was when we were con- 
tented with little reality in our stage trappings, so long as the 
player by his art conveyed the fundamental illusion of real 
human emotion. But nowadays it is different. The desired 
actor is he that most nearly is in personal appearance the indi- 
vidual he must play. "Looking" is the fundamental requisite; 
acting is merely secondary. And so, if we want a "country 
jake" in our rural drama, why not go to the village store and 
get the real article? At least, let us not even consider employing 
some Coquelin, who may ordinarily look like a good-natured 
baboon, but who, being a true actor, can play with equal per- 
fection the clown in Moliere or the hero in Racine. I marvel 
that, when "Chantecler" was done, at least on this side, the pro- 
ducers were able to suppress the feeling that only real chickens 
could "look the parts." 

Now. if there be a decline in our acting to-day, as many main- 
tain that there is, it is due to no one cause more than to this 
pernicious "part-looking" policy so universally in vogue. Some- 
how it has played havoc with our very ideals of acting. Ask the 
man on the aisle what true mumming consists in, and see how 
puzzled he is to reply. Then ask the woixjan with him. and 
observe how their answers diverge. It is even so with professed 
critics. These doctors also only too often disagree. 

It is much easier to ascertain what good acting is not. To 
begin with, it is evidently not staginess conventional gestures 
and attitudes and conventional sonority of language. That sort 
of thing used to impress the groundlings, but even they have 
turned against it now. Moreover, good acting is not mere elocu- 










, 




Moffett 



HAZKL I)A\VX 
This popular actress has been appearing in the title role of "The Pink Lady" 










THE THEATRE MAGAZINE 




Moffett 



E. ARLINE FREDERICKS 
Who has been appearing with Eddie Foy in the musical farce, "Over the River" 



tion, mere amiable stage presence, mere poise and deliberation ; 
though it often contains all these elements. 

Some time ago a stock company moved from one large city to 
another for a fortnight's presentation of a new play in which it 
took much pride of discovery. In reviewing the first perform- 
ance, one critic in the second city, a man by the way of deserved 
national repute, expatiated on the acting of the leader of the stock 
company in most glowing terms. The player was lauded as a 
second George Alexander, having that celebrated London actor- 
manager's beautifully tempered style ; precise and elegant, but 
forcible diction; commanding and well-poised bearing; and, "for 
an actor so piously reticent, his flashes of expressiveness are 
delightfully real and unforced." Another reviewer, of quite equal 
abilities, on the same morning headed his column as follows: 



"Mr. John Blank is a player of the showily 
repressed type, adorning his impersonations 
with abnormal accuracy of diction and 
much faultless grace of movement. When 
he uses the telephone, for instance, you can 
beat time to the several motions employed 
in the operation, so metrically are they 
strung together. He gives his hat and coat 
to the butler in iambics, and his low, tense 
voice is replete with cadence, as he says, 
perhaps, 'Edwards, I shall dine alone this 
evening.' Edwards, like all stage butlers, 
can never make his exits uninterrupted. 
Mr. Blank calls him back each time with 
'And, by the way, Edwards,' or 'And, Ed- 
wards, one moment, please,' uttered with 
soft precision poised, elegant and im- 
pressive." 

It happens that I have seen something 
of Mr. Blank and his methods, both on and 
off the stage, throughout a recent season. 
And I must say without hesitation that, to 
the best of my judgment, the second re- 
viewer's estimate of his acting is absolutely 
right. Mr. Blank, though heading a stock 
company that rarely plays the same bill 
longer than a week, acts all parts in the 
same key 'his own "B natural." If the 
character is different from himself he is 
"miscast." From Richard III to Arsene 
Lupin, he is always "poised, elegant and 
impressive." 

Good acting, whatever it may be, cer- 
tainly is not just "looking" and being a 
part it is not just walking on and saying 
the lines in a voice slightly intensified and 
producing the "business" with movements 
slightly exaggerated. That is the kind of 
acting our craving for realism is giving us 
so much of nowadays, but it is not good. 
It makes for the stultification of the artist 
and the annihilation of the art. 

I can fancy some incorrigibly optimistic 
reader saying long ago, "Here is another 
malcontent, raising the perennial hue and 
cry against the status of the stage !" I beg 
not to be so classified. I know quite well 
that it has been the fashion since Aristoph- 
anes, or earlier, to lament the dramatic 
and histrionic decline. I know equally well 
that in certain respects our theatre to-day, 
as it ought to be, is far in advance of that 
of any former period. I understand, too, 
that all the great players the Booths, the 
Rachels, the Garricks have not lived at the 
same time. 1 am likewise familiar with 

the fact that stage conditions have changed, that our theatre to- 
day is no longer rhetorical, but pictorial, and therefore the setting 
for a new and different style of acting. I even share in the feel 
ing that, if some Roscius of yore were to recrudesce and join 
the ranks of one of our all-star companies to-day, we should fine 
his antiquated technique distinctly unpleasing and ineffective. 

But I am none the less convinced that the tendency of our time 
is to reduce the noble art of acting from something a little greater 
than almost any other art to a comparatively trivial and mechan- 
ical craft. We need rejuvenated ideals; more emphasis upon 
versatility; more organized and substantial training; perhaps, 
above everything else, a solid foundation of general education 
and culture, upon which our younger players may build their 
art. C. A. 






THE THEATRE MAGAZINE ADVERTISER 



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A MONTHLY devoted to 
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It Iss Permissable 

(Continued from page 14) 



for liquid refreshments to the restaurants after 
the theatre, by bad actors. They are so bad that 
they are thirsty. If the mayor would not allow 
some actors to act, peoples would go straight home 
after the theatre so exhausted from laughing or 
from crying that they could do nothing else. 

The demand for entertainment is so great that 
almost anybody who has nerve can get $75 a week 
acting, which is too much. I remember the time 
when I finally got $40 a week as a actor, and I 
thought that would be the limit. When I got 
$175 during my first engagement with the Weber 
and Fields star cast I was more than pleased, I 
was excited. Later, I was not sure whether $500 
a week was a skin game on me. 

Now it is permissable! 

It is impossible to get together a star cast such 
as Weber and Fields used to have at their old 
music hall to-day. There are so many theatres 
that must be kept open all over the country, that 
there are not enough stars to go around, and 



ian race is a revealation of the sentiment and 
broader humanity of his kind. In my character 
of H'oggenheimer I remember Mr. Frohman's 
suggestion that I should have to give him a touch 
of real sentiment, to shake hands with my enemy 
as it were, so as to give a fair impression of the 
German Jew character. 

It was permissable ! 

Now while I do not agree with the mayor that 
he can close up Broadway at I A.M. with success. 
I am satisfied. If the peoples do not spend all 
their money in one night it will be best, because 
they will come to the theatre more often. 

It is sufficiency. 



PLAYS AND PLAYERS 

(Continued from page 3) 



an average of about $4,000 a performance for 
twenty-two performances, and no one knows 
what Oscar Hammerstein lost at the Manhattan, 
since he never kept books. But he was ready to 
sell out soon afterward. Of course, there was 
this difference, that at that time the maximum 
price for each of these was five dollars per seat, 




Grace Griswold Howard Hall Viola Dana Frank Currier 

Act II. Gwendolyn: "Oh, Doctor, save me; it's Snake in the Grass!" 
SCENE IN ELEANOR GATES' PLAY, "THE POOR LITTLE RICH GIRL" 



some of them come back only to go out again. 
The stage is suffering from overproduction, the 
stocks is more than the customers expect. It is 
permissable, but it will not last. The legitimate 
plays either dramatic or musical will always sur- 
vive, and the people will get tired of moving 
pictures and bad actors. 

From the heart out, the moving picture iss not 
in it. It is the best for ten cents, but the Amer- 
ican public soon gets tired of cheapnesses. The 
best iss always good enough, and I don't believe 
the theatre will loose any of its real value by 
the intrusiveness of moving pictures. They have 
only hurt the gallery, they have not affected the 
best seats in a theatre so much. The musical 
shows of to-day are more than a sufficiency. The 
dresses are more elegant, the girls more beauti- 
ful, and the music better than it was before. 
What once was is no longer permissable. 

The stage Irishman is gefutch. Harrigan and 
Hart finished him. And the old-time Hebrew 
comedian, such as Dave Warfield used to do so 
well, has become offensive to the Jewish race. 
Not because people have grown tired of his 
humor, but because the new race of American 
Jews have sprung from him. Although they 
have surpassed him in manners and style, and 
ways of living, he is the man who fought their 
battles for them, he is the ancestor they respect, 
and his comical appearance, with his hat pulled 
down over his ears, and his long black beard, and 
his patient endurance of stings and slights, rep- 
resent the whole courage and survival of the race 
in the new country. 

Now the kind of German Jew that I am rep-, 
resenting in my work is not offensive, because 
in spite of the racial fact, I am presenting the 
modern Jew, whose attitude toward the Christ- 



so there was no popular price opera in the list. 

Yet popular price opera has. also had its fling, 
Oscar Hammerstein giving twelve weeks of what 
he called "educational opera" at the Manhattan, 
which, it is reported, left a deficit of $60,000. 
And years before that Maurice Grau and Henry 
W. Savage linked forces and gave a season of 
popular price opera at the Metropolitan, the 
losses of which are said to have totaled $72,000. 

Now in "art for art's sake," or in the scheme 
of operatic philanthropy, monetary considerations 
are not important factors. In other words, losses 
do not count. But the sad fact is that the great 
public remained away in tremendous quantities 
from these popular price performances. 

Those who have watched the opera-going public 
with interest for years have a suspicion that 
what the New York masses want is not $3 or $2 
opera, but $6 opera at cheap prices. The public 
wishes to be assured that the opera it is hearing 
is the very best opera in the world. If cheaper 
opera is offered, the public is apt to suspect the 
quality of the offering. 

The real solution of this opera problem will 
be found when the Metropolitan Opera House 
builds a new home, which it will do within a 
few years, and when there will be tremendous 
galleries to house the masses that want to hear 
$6 opera for $2 and less. Meanwhile, next sea- 
son's experiments for they will surely be little 
more will bear watching. The City Club's pro- 
ject is based upon sheer enthusiasm, Oscar Ham- 
merstein's is the result of an unquenchable am- 
bition and ceaseless vitality which mark this 
impresario. Both ventures are practically doomed 
to be financial failures, which will matter not at 
all if they are successful in giving the masses the 
opera they are supposed to crave. 



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Who Wrote Hamlet First? 

(.Continued from page 20) 



Hamlet's, however, H'ieronimo's revenge is de- 
layed ; and a play to test the suspected murderer;, 
is also introduced into the Kyd tragedy. It al 
ends in a bloody massacre; and a ghost, in the 
epilogue, gloats over the torments of the deat 
men in hell. The interesting question, then, is . 
Did the author of this drama also write the "Ur- 
Hamlet," which served as Shakespeare's model? 
The primitive tale of lust, blood-feuds, and 
vengeance, which Saxo Grammaticus recounted, 
was undoubtedly of the sort that would appeal 
to Thomas Kyd. Its dramatization may have 
been prompted by a visit of certain English actors 
to the court of Elsinore in 1586; and this visit 
would suggest an important incident of the play. 
From wash's and Lodge's satirical remarks, "it 
seems evident that the "Ur-Hamlet" was of the 
Senecan type, full of "tragicall speeches" like 
"bloud is a beggar," and including a ghost that 
is absent from the Belleforest-Grammaticus talc. 
There are numerous striking parallels between 
'The Spanish Tragedy" and the earlier Shake- 
spearean "Hamlet," so many, indeed, that the 
common parentage or an even more direct rela- 
tionship in strongly indicated. Nevertheless, the 
reverse opinion is stoutly maintained by eminent 
scholars. Professor Dowden, for example, con- 
cludes: 'The general style of the 1603 'Hamlet' 
is much more like that of an ill-reported play of 
that date than like the style of a play of Kyd's 
and Marlowe's time." Professor Boas, of Ox- 
ford, on the other hand, convinces himself, at 
least, beyond a reasonable doubt, that Thomas 
Kyd wrote the original "Hamlet," about 1587, an 
obscure tragedy which, when repeated June 9. 
1594, at Newington Butts Theatre, brought in only 
eight shillings, if we are to trust Manager Hens- 
lowe's diary. Ben Jonspn wrote an expanded 
version of "The Spanish Tragedy," which achieved 
popularity; and Professor Boas believes Shake- 
speare was merely repeating the process with 
another of Kyd's dramas, when he wrote "Ham- 
"The master-dramatist transformed what 
was probably a flamboyant presentment of the 
Prince of Denmark's irresolution into the subtle 
study of diseased emotion and palsied will with 
which the world is familiar." 

A more conclusive statement in this connection, 
it may be added, is that of Dr. Schick, who 
writes: "Notwithstanding all the ingenuity ex- 
pended on Kyd of late years, the ground on which 
we can put our foot with any firmness is still 
very small." The "Ur-Hamlet" and its authorship 
forms one of the impenetrable mysteries of litera- 
ture, and impenetrable it will remain, doubtless 
for all time, unless some other good Sir H'enry 
one day goes "Bunburying" as they would say 
in "The Importance of Being Ernest" and dis- 
covers in a dusty closet a quarto or a signed 
manuscript of the first English drama dealing 
with the melancholy Dane. CHARLTON ANDREWS. 

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The Author at a First Night 

(Continued from page 32) 



is set going at a performance. I believe many 
of them cease thinking as soon as they get 
their cue. The average actor has rehearsed 
his part in a certain way, and he is al! 
wound up, as it were. So all he can do when the 
time comes is to give you the goods as cut to 
measure, as mechanically as if they came out of 
a slot machine." 

"But surely you don't mean to say there are 
no competent actors intelligent men and women 
who can grasp an author's meaning and realize 
his intentions?" 

"By no means. I only insist that in most first 
performances these intelligent men and women 
show an aptitude for spoiling the dialogue and 
throwing the story out of harmony with the man- 
uscript of the play which makes it painful for the 
author to be present. Of course, the usual re- 
hearsal on the day after the premiere smooths 
out many of the rough places and leads to a much 
better presentation a few days later. That's the 
very reason a sensitive writer of plays, for his 
own sake, should keep away from the opening." 

"But you are here," the Unproduced Dramatist 
reminded him with a smile. 

"Of course I am. I always go to my own 
'first nights.' I couldn't stay away. If I didn't 
go I should imagine things were worse than they 
are if that were possible. There are very few 
playwrights who have the resolution to keep away 
from the theatre when they know a dozen or so 
of men and women on the stage are rending and 

t Continued on page wr) 



Vll 




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This is the romance in letters of a man and a woman, extremely intelligent 
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A Chat with Blanche Bates 

(Continued from page 24) 



and during the rehearsals, and even after the 
play was 'on.' I visited the art museum and 
communed with that painting." 

"For your part in 'The Children of the Ghetto,' 
I presume you made daily visits to Hester, Orch- 
ard and other East Side streets in New York's 
Ghetto?" 

"Not a bit of it. I am not one of your rubber- 
neck sociologists," replied the actress. ''First of 
all, Mr. Zangwill very carefully drew a mental 
picture of his conception of the part for me, and 
so realistically that I could not help but see and 
act her as he meant her to be. Later, in London, 
I met his sister, Hannah. The moment she took 
a cup of tea I knew that Mr. Zanwill had written 
the part around her. Then I studied his sister, 
and Mr. Zangwill afterwards told me that I 
really 'lived the part.' " 

Previous to 1898, when she first joined the 
Augustin Daly Company, Blanche Bates had 
proven herself an able emotional actress by her 
acting of Phyllis in "The Charity Ball," and had 
played "The Dancing Girl" ; and among many 
more or less varied roles, Nora in Ibsen's "A 
Doll's House." Then after appearing in a num- 
ber of Shakespearean parts, she created the 
Countess Mirtza, in Augustin Daly's notable pro- 
duction of "The Great Ruby." Although she 
only played the part twice at Daly's she com- 
pletely took Broadway and firmly established her- 
self as one of the best of American actresses. 

"It will surprise everyone to know that the 
original of the Countess Mirtza was none other 
than Maxine Elliott," Miss Bates half whispered. 
"Maxine Elliott, the woman, I put into my por- 
trayal of the Countess .Mirtza. And I want 
everyone to know that Maxine Elliott is a big. 
big actress, too, as well as a big and handsome 
woman. Because of her wonderful beauty people 
have lost sight of the fact that she is a really 
big actress. 

"And it is curious when I stop to think of it. 
It was Maxine Elliott's advice that won my en- 
gagement with Mr. Daly. She told me, when I 
was going to see him : 

" '.Suv nothing and get through with it.' 

"I did, and he took me in his company." 

WENDELL PHILLIPS DODGE. 



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Ruins of a Roman Amphitheatre 

(Continued from page 21) 



Clytemnestra who trailed about in black, were 
clad in minor tones, though they were girded and 
their hair bound with jewels. It was revelry for 
the senses as were the inconstant mysterious 
music from the distance and the intermittent 
chanting of the chorus. 

There must be a great influence exerted by 
the walls and roof of a theatre because when 
they are taken away, leaving only the auditorium 
and stage, as in a Roman amphitheatre, the whole 
art of acting and the drama in their effect on the 
spectator are different. Nature is substituted for 
scenery, and at the same moment reality is added 
to imagination for imagination still lies in the 
lines. When Salvini rushed out upon the stage, 
ran down its steps and flung his arms up in 
prayer to the sun, crying in his ringing tones "O 
Sole !" the hearer in a flush turned pagan. There 
hung the sun listening. A tense silence swept 
over the audience. It was almost as though 
something might happen ; as though the sun might 
send a visible answer to his prayer. Imagination 
could never be so deeply and almost fearfully 
stirred in the walled-in make-believe of the thea- 
tre of to-day. 

There are other differences between the art of 
the outdoor and that of the indoor theatre. The 
actor outdoors must paint his portrait with 
broader strokes. Some of those who saw Salvini 
as (Edipus Tyrannus in the amphitheatre at 
Fiesole said that he ranted. Perhaps they were 
right. Perhaps that is what ranting is outdoor 
playing. In order to carry across the space that 
separates the actor from his audience a rather 
violently physical expression must be given to 
the emotions. Subtleties of expression or re- 
pression would be completely lost. 

Another point about acting in an amphitheatre 
is that the acting space is large and varied. The 
actor must play not only on the portico, but on 
the wide flight of steps leading down from it, 



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THEATRE MAGAZINE ADVERTISER 



ix 



and on the ground lying between portico and 
chorus pit almost an acre of space. 

At times during the action of CEdipus, Salvini 
ran from between the high gray walls, that 
formed the wings, down the steps and across the 
wide foreground in a mad attempt to escape from 
the horror which always pursued him. Or with 
arms outstretched he staggered backward up the 
steps and fell against one of the old gray pillars 
moaning. The women of the piece, not so dem- 
onstrative, carried out their acting in statuesque 
poses. 

Meanwhile, in that strange air of Italy, not a 
note or inflection of the voices was lost. The 
lines were spoken in strong, clear tones, but were 
not shouted, yet each word shot up to the lis- 
teners on the rising tiers of seats direct and 
distinct. C. I. D. 



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The Author at a First Night 

(Continued from page :-ii) 

tearing at his work, with a wildly hysterical stage 
director helping the havoc along from the first 
entrance. Ihe author goes because he can't stay 
away. If some near and dear relative of yours 
were to undergo a dangerous surgical operation, 
wouldn't you want to be close at hand, even if 
you could not bear to look at the operating table ? 
The dramatic author goes to the theatre in much 
the same spirit only, he always watches the 
operation, squeaking with pain at every move of 
the scalpel, especially when the instrument slips, 
as it is doing continually at most first nights of 
a new play." 

"Well, I don't know," observed the Unproduced 
Dramatist with a little sigh of envy. "If I had 
as big a success as this of yours I don't think I 
should much mind an occasional slip. If there 
have been any slips to-night they don't seem to 
have hurt anything. On the whole, I should say 
this performance is a splendid one. To me it 
appears to be practically perfect." 

"If you were the author you'd know better. I 
can see a hundred places where changes have 
been made, and always to the detriment of the 
play. Why " 

But at this instant another successful play- 
wright slapped him on the back in an excess of 
good-fellowship, and said heartily: 

"I congratulate you, my boy. You have a great 
play, and I never saw a better company. They 
are a magnificent bunch of actors. Each one has 
got right under the skin of his part, and the 
dialogue is done admirably. You read the script 
to me a few weeks ago, you remember; so I am 
able to judge. Those people give it just as you 
did. They seem to feel what they say, and all 
the subtleties in the lines are most skillfully 
brought out. That is saying something, for you 
are great on subtleness in your dialogue, you 
know." 

"Do you really think the company is all right ?'' 
asked the Successful Playwright, with a rather 
sheepish glance at the Unproduced Dramatist. 

"Do I ?" chirped the other successful play- 
wright. "Of course I do. And everyone is say- 
ing the same thing. For a first night I never saw 
such a splendid performance. You rehearsed 
them yourself, didn't you?" 

"No. Blank did it, and 

"Well, I thought you'd coached them person- 
ally, for they've got you on a hair-trigger, both 
in lines and 'business.' " 

The Successful Playwright lighted another 
cigarette. 

"Is that so? I was a little doubtful. I always 
am, it seems to me." 

"Of course you are. So am I, at my own open- 
ings. It's nervousness. We're all alike. Why 
don't you stay away from your first nights, old 
man ?" 

"Why don't you?" retorted the Successful 
Playwright. 

"Because I can't." 

"All the same there'll be a rehearsal in the 
morning," muttered the Successful Playwright, 
half to himself, as they all went into the theatre 
to see the fourth act, ''And /'// be there." G. C. J. 




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Daniel Frohnun John Drew. 

Benjamin F. Roeder Augustus Thomu 



Founded 
la 1884 



For catalog and informatioQ 
apply to the Secretary 

Room 152. Carnegie Hafl 
New York 



THE OFFICIAL PROGRAMME OF THE 



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No punching of holes necessary. Just a pen-knife slit 
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A Delightful Party 

An Interesting Play 

An Enjoyable Evening 




With the Play Diary these pleasures do not end with the evening. 

The Play Diary is a handsome book, 1 0xl 4, beautifully bound in 
silk cloth. Japanese vellum used throughout and gold lettering on 
the covers. It contains 80 pages with title page and index. 

Four pages are reserved for each play with printed headings 
for the date, name of the theatre, the play, a place for the Programme, 
names for the members of the party, two pages for illustrations, a page 
for personal criticisms and reviews, and space for the seat coupons. 

It makes an attractive addition to your library table and is a source 
of much interest and pleasure not only to yourself, but to your friends. 

Price $3. 00 sent prepaid 

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XI 



Most Successful Operetta 

(Continued from page 18) 



but with a percentage of the profits. The artistic 
rendition by Miss Pauline Hall of the entrancing 
lullaby intrenched itself so thoroughly in the 
hearts of her admirers, that, by actual count, she 
sang it more than six thousand times. 

General William T. Sherman was an inveterate 
Casino habitue, and on one occasion I told him 
that I had recently invited General U. S. Grant, 
who inquired what was playing. When I 
answered that it was a musical show called "Er- 
minie," the General answered: "I'll wait until you 
play a drama or a comedy, v l don't care for musi- 
cal shows." General Sherman then informed me 
that he accounted for that in this way. "During 
the war the almost continuous rattle of horses' 
hoofs, caissons, gun carriages and wagons of 
various kinds, and the beats on the drums and 
other weird sounds had evidently imbedded them- 
selves so thoroughly in General Grant's ear that 
he had conceived a veritable dislike for music. 
It's different with me," continued General Sher- 
man ; "I could listen and enjoy When Love Is 
Young, All for Glory and the Lullaby a hundred 
times." 

During the unprecedented run of the opera one 
heard nothing but stories of how the members 
of the cast were like one big, happy family, how 
delighted they were at their success, of the enor- 
mous fortunes realized by the different chorus 
girls in Wall Street speculations, of their various 
matrimonial affairs. Their names and reputed 
exploits were to be found in the newspapers at 
least seven days a week. Then there was the 
music. One simply could not escape it, no matter 
how hard one might try. When you arose in the 
morning someone in your immediate neighbor- 
hood would be playing For Love Is Young. 
Later, when being served with your coffee at the 
breakfast, your otherwise irreproachable and ir- 
replacable maid would be quietly humming The 
Dickey Bird Song. Then all day long, in either 
the business or residential section of New York, 
the hurdy-gurdies would grind out one tune after 
another, the favorites in their repertoire being the 
Gavotte and the Lullaby. One had to have pa- 
tience and fortitude during the "Erminie" fad. 
Yet one recalls those days with pleasure, almost 
with regret. They represent an enthusiastic era, 
a public appreciation of the artistic that is too 
often lacking to-day. With the possible exception 
of the vogue of some of the Gilbert and Sullivan 
operas, there has never been anything quite like 
the craze for "Erminie" in this country. 

GREAT BEAR SPRING WATER 
BO cts. per case 6 glass-stoppered bottles 

Victor Records 

Caruso's Fifth English Record Your Eyes 
Have Told Me, Bowles-O'Hara. 

Mr. Caruso has selected for his fifth excursion 
into the English ballad field an attractive new 
song by Geoffrey O'Hara, with poem by Frederick 
G. Bowles. 

The Popular "Angel's Serenade" by Gluck and 
Zimbalist Angel's Serenade, Braga. 

The Victor's series of standard songs with vio- 
lin obbligatos by famous violinists is further in- 
creased this month by a delightful presentation 
of Braga's ever popular "Angel's Serenade," given 
by Miss Gluck and Mr. Zimbalist. 

An "Aida" Duet by Gadski and Amato Aida, 
del! Mio Padre! Verdi. 

This duet is from Act III, and occurs during 
the scene in which Amonasro persuades Aida to 
induce Rhadames to become a traitor to his 
country. 

A Sacred Number by Schumann-Heink Agnus 
Dei, Bizet. 

A Charming Old Folk-Song by Farrar and 
Homer How Can I Leave Thee (Thuringian 
Folk-Song). 

The Victor's series of duets in English by oper- 
atic artists has proved to be an attractive inno- 
vation. "Whispering Hope" and "Abide With 
Me" have been very successful, and this charming 
old folk-song by Farrar and Homer is a welcome 
addition to the list. 

A New Farrar Record I've Been Roaming, 
Horn. 

Educational Records. Simple Folk-Dances for 
Little Children. 

Self-control is the first great lesson for the 
child to learn on entering Kindergarten. Physical 
culture is essential, but should always be tempered 
to the age and physical strength of the child. 
These old dances are universally loved by the 
children, and furnish just the right degree of ex- 
ercise, music, pleasure and play. 

Kinderpolka (German), Paul; (2) Chimes of 
Dunkirk (From "Folk-Dance Music"), Burchenal- 
Crampton, Victor Military Band. Advt. 




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BY THE ,FIRST POSTMAN 




fASHIO/N J=ORECAST 



Special Sales throughout New York 

All the Fashion Journals in One 

Things New in the Shops 



COMPLETE OFFICIAL FORECAST 

FOR THE WEEK 
CLASSIFIED AND INDEXED 

SHOWING THE NEWS OF 
THE FIFTY LEADING STORES 

THE VIEWS OF 

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IN ALL DEPARTMENTS 

AT A GLANCE 

Saves time, trouble, money it is the 
only means of knowing 

ALL THE SALES 

IN LEADING NEW YORK STORES 
(Officially Reported) 

THE CONSENSUS OF OPINION ON FASHIONS 
(By the Foremost Authorities) 

THE NOVELTIES THROUGHOUT NEW YORK 
(By Fifty Specialists in Shopping) 



Do you care for dress to know what suits you 

best; what store has it; where it may 

be had at the beat advantage ? 

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BEFORE YOU START TO SHOP 



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Vogue 

takes 
No Holiday! 

While you are enjoying the leisure 
and pleasure of the long Summer 
vacation, Vogue takes no holiday. 
Week in and week oat, its editors 
and correspondents are busy acting 
as your agents, searching the whole 
world for just those things that will 
most interest you. For instance: 

In the July 1st Vogue you will find news pho- 
tographs of society as it settles down to the gay 
life of Newport, Southampton and the North 
Shore; also a comprehensive array of outing 
clothes and final review of the formal mid- 
summer mode. 

In the July 15th Vogue are all the perennial 
interests of Summer life in the smart watering 
places and in smaller villages away from the 
fashionable highroads. 

In the August 1st Vogue you will find sug- 
gestions for the woman who motors, rides, 
swims, plays outdoor games and goes into the 
forest. Also the first intimation of the Autumn 
fashions that are to be. 

Wherever you go this Summer, make 
sure before leaving that you are to 
get your Vogue right through the 
Summer. Whether you go where 
society is, or to some quieter spot for 
rest Vogue is exactly the connecting 
link that you will most want to 
maintain. 

Vogue, 443 Fourth Ave., New York 



2$ cents a copy 
Twice a mor.lh 



i "DM IK XAPT 
I'uUiihtr 



f 4 a year 
24 numbers 



A unique' and exquisite feature of THE THEATRE MAC.AZINK is the 
Fashion Department. Do not fail to read the suggestions and pointers 
of our Fashion Editor, an authority of both continents. 



When writing to advertisers, kindly mention THB THEATRE MAGAZINE 



EVVO / <r* 

T 1 



1 



ELEANOR GATES has accomplished the unprecedented 
and what persons who use the word scorned of Napoleon 
deemed impossible. With her first play she attained 
metropolitan success. 

Why? She told me in a bijou 
apartment overlooking Central Park, 
the location and furnishings of 
which spelled success, told me while 
her cheeks glowed from a motoring 
trip and motoring trips for which 
you yourself pay bear also the ini- 
tials of success. 

Miss Gates, who tells you frankly 
that she is thirty-seven and humanly 
enjoys your look of surprise that she 
is more than thirty, sat forward in 
her chair, tilted a determined look- 
ing chin, and talked with unusual 
force and directness for a woman, a 
force and directness that betoken an 
honest mind and fearlessness, with- 
out ambition for diplomatic achieve- 
ment. 

"I think the play captured metro- 
politan fancy because it was about a 
child. Every normal person likes 
children and everyone who likes 
them is interested in their lives. A 
second reason, I believe, is that it 
visualized, and made a story of, the 
the figures that are large in a child's 
life, as examples, the doctor, the 
policeman and the organ grinder. 
All children have a delicious terror 
of these three persons. They are 
fascinated by them, and reverting to 
our own childhood it entertains us to see those persons figuring 
as they might have done in our lives. A third reason, in my 
opinion, is that the play is different and everybody seeks the 
different. New York, I understand, pursues the different with 
more zest than does any other city. 

"That is my analysis of the play's success, but as to what led 
to it, the story is a longer one. The idea of the play had been 
growing in my mind for ten years. I had been thinking about 
it, making notes of it. There was a fat envelope full of them. 
I had first thought of embodying the king's English which my 
mother used to talk of my 'murdering,' until he actually took 
form to me and I regarded myself as a slayer of a human being 
and other figures of childhood, in a play. The idea of a rich 
child neglected by her rich parents had also been in my mind. 
One day I welded them, so to speak, married them. I used them 
in a book. Mr. Arthur Hopkins read the proofs of the book 
and gave me an order for a play. I wrote the first act in 
seventeen days. The second I wrote in twenty-one days, and 
the last, and Mr. Hopkins says that is unquestionably the best, 
in fifty-two hours. 

"I had always thought in plays and always intended to write 
plays. But when we were graduated from the University of 
California, Richard Tully, whom I married, elected to write 
plays and I said, 'I will write books and articles for the maga- 
zines.' I have been writing for eleven years. I began at 
twenty-six." 

"No woman has anything worth writing before she is twenty- 
five," I interposed. 

"Perhaps not," smiled Miss Gates. "My first book, 'The Auto- 
biography of a Prairie Girl,' was published the year I was twenty- 
six. I wrote five other books, the last, "The Poor Little Rich 
Girl,' and many magazine articles in those el'even years. I 




Photo Ira L. Hill ELEANOR 

Author of "The Poor 



have always been fortunate enough to write for the better class 
of magazines. I have never written pot boilers, though I have 
had to do pot boiling. The difference is that while I had to 
keep the pot boiling many times 1 always did my best. 

"My preparation for playwright- 
ing? I had been studying plays for 
twelve years. I had seen all the 
plays I could, especially the failures. 
I wanted to know why they failed 
and I think I learned why." 

"A great many theatrical man- 
agers would like to know." 

"There is always something 
basically wrong in the play that 
fails. It may not be reasonable. Or 
it may break off in the middle, leav- 
ing off one story and beginning to 
tell another. I had experimented in 
an amateur play when I wrote 'The 
Gentle Miss Gillette' for the Uni- 
versity of California production and 
I had helped to doctor plays. None 
of my husband's plays, but plays 
were sent him to see what could be 
done with them, and we discussed 
them and worked on them and peo- 
ple said they were better for the 
treatment. 

"I see the question that is in your 
mind and I am going to answer it. 
It is only fair to me that it be an- 
swered. Why didn't I write plays 
before? I have had three well in 
mind besides this one, only waiting 
to be written, which is the smallest 
part of it. 1 held back because I 
wanted to give my husband the chance for the family. He wrote 
'The Rose of the Rancho' in collaboration with David Belasco. 
He wrote 'The Bird of Paradise.' I said, 'Now it is my turn.' 

Miss Gates does not create a character with any certain player 
in mind, but once the character has taken definite form and shape 
in her mind she seeks the player that corresponds to her mental 
picture of the physical peculiarities of the character. The people 
of her plays, in other words, are real people to her. She sees 
them as such. "I know how tall they are," she said, "and 
whether they are blondes or brunettes, stout or slender. I know 
what kind of voices they have, how they dress and how they 
'carry' themselves. 

"In November a new play of mine will be seen. It is another 
whimsy I have chosen whimsy because it is a less trodden path. 
Others have written of the triangle. I shall avoid the sex play. 
There will be nine children in it. Yet it is a play, too, for 
grown-ups. After the opening of that play I shall go to London 
to see the London production of 'The Poor Little Rich Girl.' " 

No mother's eyes ever glowed with a greater joy in watching 
her first infant than Eleanor Gates' when she spoke of her first 
play. No one can ever truthfully say of her that she has not 
enjoyed to the full the taste of her success. 

"What do you deduce from your experience as a playwright ?" 
I asked. 

"That to succeed you must love the thing you do, and must 
want to do it more than anything else in the world, and you must 
put all your ginger into it. 

"I don't know whether my next play will be a success, but it 
has been very good to know that this is. 

"I don't know its name. The name has to come. I am having 
difficulty about the title. The Poor Little Rich Girl' did not 
come at first." ADA PATTERSON. 



GATES 

Little Rich Girl" 



(The best models shmvn in the New York shops.) 



On this and the following pages 
arc shown smart costumes and acces- 
sories of the toilette for the various 
social functions of the summer. They 
hare been selected by a fashion expert 
who made a systematic tour of the 





shops in New York. After comparinq 
hundreds of models, she chose the 
ones reproduced here because she con- 
sidered them the best values from the 
viewpoint of style, price and prac- 
ticability. 



C. This practical white crlfe 
voile blouse is just the model 
for golf or tennis, or to wear in 
the morning with the tailored 
skirt. It has a collar, cuffs, and 
a conveniently placed pocket on 
the left sleeve, of ratine voile. 
The price is $2.95. The skirt 
of imported white cordeline is 
just as practical because it fas- 
tens down the front with pearl 
buttons which may be unbuttoned 
to procure greater width. The 
back is tucked and belted. The 
price ($3.95) is remarkably low. 




A charming, cool-looking frock of voile or tissue ging- 



D. The mountain climber, or the girl who 





B. A fine wool eponge coat is a necessity in the 
summer, though it seldom can be purchased as low 
as $16.75. This model mav be bought in black, tan 
blue, gray, rose, and white, with collar and cuffs of 
bengaline to match. The cutaway effect in the front 
and the strap at the back are generally becoming 
features. 



Names of shops where the costumes shown on this page may be purchased will be furnished on request. 
Address THE THEATRE MAGAZINE, 8 West s8th Street, New York City. 



lie Costames for 






. A fetching beach gown of 
imported self -striped crepe cloth, 

'i'liere is a rest of figured ba- 
list-- which extends to the waist 

/in i', n>ii/ a rot/at' and cuffs l 



, 

hemstitched white crepe. .Such 
frock can be easily tnhhe 



hed, 



and is always pretty and cool 
hniifinti mi a hot morning, It 
is reasonably priced at $16.50. 



F. A simple crepe de chine blouse in 
ti'hite or black. It is shirred from (lie 
yoke in thr front, and has a pointed 
'collar which is rery becoming. This 

model sells for $5.76. 
The white washable <' politic skirt is a 
two-piece in a del, fast en in a <; little t<: 
one side with lanje pearl buttons. It 
has a double patch pocket, and is belted 
in the back. The price is $3.05. 



G. A trig sport coat which nxiv /v btnttjht in 
tpongt < chinchilla. it c nines in fascinating 
coloriiifis. a bright (ire en. natier blue, the soft 
leather tone, pheasant, and the conventional 
black and white. Tlii i c arc one laryc patch 
pocket, large but Ions, and the neiv ray tan 



shoulders. 



It is of particularlv (food rahte 
at $18. 






H The sport coats of French 
cretonne are as decoratr.-e as 
they a>e novel, with collar and 
cuffs of plain linen in contrast- 
ing shades, and sell for $9.75. 
The white washable cpoufic skirt 
is a two-piece model, opening nt 
either side of the front with 
crocheted buttons, and sells for 
$5. Jo. The sport hat to match 
the coat sells for $3.95. 



1. The coat and breeches are 
now the accepted, habit for rid- 
ing in the country. TLev can be 
procured in the natural, white. 
Jasper, or black and white 
checked Irish linen crash, also 
the cravenetted khaki which de- 
fies even the hardest rain. The 
women's and the misses' habits 
sell for the same price, i.e., 
$18.50. 



J. A smart frock of fottlat d 
for the Casino. The skirt iv 
made becoming to even large 
figures by the simple over skirt 
of the material. The Marie An- 
toinette fichu trims the waist 
most effectively. A tiny bow of 
colored crepe finishes the neck 
and heads the plaited ruche with 
buttons of the crepe. This frock 
is a bargain at $14.50. 



Names of shops where the costumes shown on this page may be purchased will be furnished on request-. 
Address THE THEATRE MAGAZINE, 8 West 3&th Street, New York City. 



THE THEATRE MAGAZINE ADVERTISER 



Facts Worth Known eg 

I/V will gladly ansm:- any inquiry, uh-i,,,j names of shops where these articles arc 
shown or sold. Address TIIKATKK MAI-.AZINK, 8 West :mh Street, New York. 



THE Summertime is not all playtime for those who desire 
to appear slender and lithe in the new Fall costumes. 
Ardently as many of the actresses desire to rest, and the 
society women, too, for that matter, they know that if they are 
to wear the smart new frocks in the Fall they must watch closely 
the figure. The Summer months give just the best opportunity 
imaginable for reducing, and it can be accomplished in a com- 
paratively simple way. It will not be necessary to deny yourself 
all the good things which the garden is producing, nor to make 
a hot day seem even more uncomfortable by exercising strenu- 
ously, if you will provide yourself with one of the practical. 
rubber reducing garments. 

The best part of this reducing method is that you can reduce 
just the part of the body that needs to be relieved of superfluous 
flesh. If you wish to be smaller in the hips, there is the hip belt 
for $12 ; if the bust is too large, the Eton jacket for the same price 
will soon reduce it to the desired proportions. The union suit 
for $30 will reduce the entire body. 

This method can be recommended with safety if the proper 




T. For tennis; there are various low shoes with 
rubber soles from which to choose. There arc 
the plain, white buckskin Oxfords at $7.50 and 
the fancy Oxfords at $8.50; the white canvas at 
$5.50, and the tan Russia leather at $6.00. 

rubber garments are selected. The garments manufactured by 
one well-known doctor are guaranteed to be perfectly harmless, 
and are not weakening in the slightest degree. They are fashioned 
from the purest virgin Para rubber, which is medicated according 
to a formula of the doctor's. The idea is that by wearing these 
garments you can induce a profuse perspiration which stimulates 
circulation and eliminates the waste products through the pores. 
Xot only can the flesh be reduced, but rheumatism and skin dis- 
eases can be relieved in the same way. The doctor is always 
very glad to answer questions in regard to her garments, and will 
help you to select the garment to "do the trick." 

To Sootlhe the Skim 

The jolliest day in the open may be spoiled by sunburn. This 
warning docs not mean that you should swathe yourself in veils, 
and thus lose all the benefits of the fresh air and the sunshine 
which Mother Nature so generously showers on all those who 
seek them, but it does mean that you should be prepared against 
the pains of sunburn. It surely takes only a few minutes of 
time and a very small sum of money to procure a soothing lotion 
for the skin. The difficulty lies in finding just the right lotion. 
There are hundreds of preparations which promise relief from 
the burning, smarting pain which the too ardent attentions of old 




I 



N my very low, 
short -slrcved gowns, 
I wer Klrmnt'i 
Full Dim shape dress 
shield. It hat such a 
short Aapitdoesn't show. 
"With othtr frocki 
I need other shapes 
of Kleinert'i Shield:. 



"So I always consult 





Dress Shields 



H 



R 



"It shows just the 
Kleinert's Shield I need 
for each garment. 

"Do as I do. 

"Consult Kleinert's 
Dress Shirlds chart at 
the Notion Counter. ' ' 







LA VALSE 



JUST as the exquisite dancing of Karsavina and Nijinsky 
in " The Spectre of the Rose" to Weber's " Invitation a 
la Vake" enchanted the civilized world, so has the fasci- 
nating new Morny Perfume "La Valse" captivated the 
world of fashion. 

*I " La Valse" should achieve even wider fame than its 
well-known predecessor, Parfum "Chaminade," so exquisite 
and satisfying is its fragrance, and so indefinably beautiful 
is it in its complex modernity, its elusive intensity, and its 
delicate and subtle suggesliveness. 

Parfum "L VaUe" $3.00 $S.7S 

"La VaUe" Bath Salts $1.25 3.30 7.50 

"La Valse" Complexion Powder 1.30 

"La Valse "Bath Soap Bowls - - 5.00 7.50 8.25 

"La Valse "Toilet Water 2.00 



NIORNY 

LONDON -W- 



Illlllllllllllllllllllllllllllllllllllllllllllllllllll 



Retailed by all first clast Perfumery Store* 

A descriptive price list of the entire "La Vake" series of Fine Toilet Products with dainty paper sachet sent 
oa receipt of stamped addressed envelope to 

Wholesale Agents F. R. ARNOLD & CO., 3, 5 & 7 West 22nd Street, NEW YORK 



When writing to advertisers, kindly mention THE THEATRE MACAZWE 



Costames 






P. A fetching dancing frock of fine 
net and shadow lace. The three narrow 
flounces on the skirt are broken by an 
effective trimming of white satin ribbon 
studded with rosebuds. The waist is 
made very girlish and pretty by the 
bolero-like arrangement of the shadow 
lace which of-ens orcr a soft vest of 
net trimmed with the satin rosebuds. 
The crushed girdle may be of the wliitc 
satin or of a colored ribbon. This 
frock will be made to order for the 
reasonable sum of $35. The only 
measurements necessary to send are the 
length of the waist from neck to waist 
line, the size of the waist, and the 
length of the skirt. 



Q. The "Regent English Motor Sport 
Coat" is one of the best-looking models 
shown this season. It comes in the 
striking novelty goods and check com- 
binations and in the high millinery 
shades. There are two large patch 
pockets, and it fastens with the mush- 
room silver buttons. The price of 

$15 is a very reasonable one. 
This very well-tailored skirt of antique 
linen in delft, brown and tan shades 
is a bargain at $4.75. The high girdle 
with matched buckles is generally be- 
coming to both large and slender figures. 



K. This charming dancing frock was de- 
signed especially for THE THEATRE MAGA- 
ZINE, ft is fashioned from cream 
colored net and the skirt has the new 
accordion plaited flounces, the upper 
headed with a plaited ruche caught with 
rose and yellow buds. A similar cluster 
of buds nestles at the side of the soft 
rose-colored silk girdle which fastens 
with a square bow in the back. A 




fichu of the net, edged with a plaited 
ruche, adds its charm to the corsage 
of this simple but effective gown. 
This dress, made to the measurements 
of the individual, costs only $50. The 
length of waist from neck to waist 
line, the sice of the waist line, and 
I he length of the skirt arc the only 
measurements necessary to send. 



9. This good-looking sweater for women 
and misses is of pure worsted with flu- 
sailor collar effect. It conies in the 
usual tan, gray, it-hit e and cardinal 
shades, besides a lovely soft reseda 
green and an old rose. It is of splen- 
did value at the low price of $4.95. 
The men's Shaker knit su'caters are 
fashioned from pure lamb's wool of 
medium weight in navy, gray, maroon, 
white and the pretty heather mixture. 
They are a little more expensive, 
selling for $5.8.1. 



Names of shops where the costumes shown on this page may be purchased will be 
Address THE THEATRE MAGAZINE, S West $8th Street, New York 



NOTE 

THE FASHION DEPARTMENT of THE 
T H EATR E MAGAZI N E will be very glad 
to help you shop. The women in 
this department are experts of good 
judgment and taste, who know just 
where to buy the various articles 
of the wardrobe for the best value. 
There are shops, for instance, which 
make a specialty of a certain line of 
goods; all these shops are known by 
these experts who have studied thor- 
oughly the different stocks. Through 
this intimate knowledge of the shops, 
they can save you time and money. 
Feel free to ask us for any information 
you may desire. 

furnished on request. 
City. 



THE THEATRE MAGAZINE ADVERTISER 



XVII 



Sol can produce, but there are comparatively few which give the 
promised relief. There is one, however, which should be in- 
cluded in every travelling kit this Summer. 

It is put up under the personal supervision of one of the 
cleverest women physicians, and it will soothe the most delicate 
skin. The most irritated surface can be treated with this lotion, 
and in a few minutes the intense burning sensation will stop. It 
is not only soothing and refreshing, but it whitens and softens 
the hands another important fact, for sunburnt, tanned hands 
and neck are not beautiful after the carefree Summer days have 
passed. This fifty-cents' worth of precaution will spare you many 
hours of pain. 

To Ward Off the Kisses of tlhe Sun 

The more delicate the skin the more quickly the kisses of the 
sun will appear as ugly brown spots, known as freckles. While 
each freckle may mean a happy day on the water or tramping 
over the golf links, they cannot be regarded collectively as aids 
to beauty. They certainly do not look well under the unfriendly 
glare of the limelight. If the skin is treated at once, it is not a 
difficult undertaking to erase these sun kisses, provided, of course, 
that a good reliable cream is selected. There is an excellent 




U. The low slippers ore necessities in every 
wardrobe, and several kinds should be included 
for afternoon and evening. The black kid slip- 
pers with the steel buckles cost from $8.50 up; 
the satin slippers in all colors cost $7.00, with 
rhinestonc buckles at $3.00 and up. 

cream compounded from the recipe of a famous English spe- 
cialist. It should be applied at night and allowed to remain on 
the skin until morning, so that it may work while the "victim" 
is roaming in dreamland. It is not an expensive cream, as it sells 
for $i a jar. 

The results may be accomplished more quickly if the balm 
cream, prepared by the same clever specialist, is applied on alter- 
nate nights. This cream will be found very soothing for sensi- 
tive skins and very healing. It comes in jars, which sell for 75 
cents and $1.50. 

To Erase the Frowm 

A development for holding the face in a natural position during 
sleep, or while writing or reading, is the invention of the forehead 
strap, which has a marvellous effect in that it entirely obliterates 
the lines on the forehead which constitute a frown. These straps 
are light, ventilated and beautifully made, and users say they 
have found them an absolute cure for neuralgia and conducive to 
sleep. 

"A Corset for Athletics" 

This corset is fashioned from rubber elastic webbing and 
swathes the hips from the waist down, almost to the knees, but 
there is no covering for an inch or so above the waist line. 



We will gladly answer any inquiry, giving names of shops where these articles are 
shown or sold. Address THEATRE MAGAZINE, 8 West 38/fc Street, New York. 



KIBSFIT 

PETTICOATS 

Fit Witkout 
\V^ rinkles or 
Alterations 

The Genuine is identified by 
this label in the waistband 








KLOSFIT PETTICOAT 



$5.00 upwards in Silk (all colors) 
$ 1 .50 to $3.00 in Cotton (Black only) 

At the Beat Stores 

Write for STYLE BOOK Je LUM to 

KLOSFIT COMPANY 

Publicity Depl. 
208 Fiftk Avenue New York 




CLEMENT'S FRENCH BEAUTY SHOP 

dainty French perfumes, creams and toilet preparations often imitated, never 
which are making La Parisienne so fascinating and chic, are my specialty. 



Those 
equalled. 



BEAUTY 

Your heritage, which na- 
ture has intended for every 
woman. The wonder preser- 
vation and youthful appear- 
ance of many women are due 
in mod instances to rules and 
adherence to precepts that 
have been formulated by those 
French experts who have 
made a careful study of the 
science of beauty culture. 

CLEMENT'S CREME 
DU BOSPHORE 

A wonderful beauty build- 
er, unequalled for nourishing 
and massaging the skin. Veg- 
etable oils only enter in its 
compounds - Price $1.00 

THREE KISSES FOR 
BEAUTY 

That is the name of the 
three latest indispensable prep- 
arations for beauty perfection. 

Le Bauer (the kin) . the quern o< creams. >n idel dtenmt foe the face. Price $1 .00. $1 .50 & $2.50 
Le Bauer, the finest French powder, unexcelled for taking the red tint o(f the face. 

Price $1.50 ft: $2.50 
Le Biiier. the Utefl and mod fragrant of ill perfumes. Price $1 .50 & $3.00 

CLEMENT'S ASTRINGENT LOTION 

An entirely new preparation for eradicating wrinkles and gives a youthful trans- 
parency to the complexion. Price $1.00 & $2.50 

CREAM AND LOTION DE JEUNESSE Price $4.50 & $5.00 

My beaut]) booklet sent upon request. Private room for 
facial treatment, manicuring, hair dressing, hair-coloring, etc. 




12 WEST 33rd 
STREET 



CLEMENT 



NEW YORK 
CITY 



When writing to advertisers, kindly mention THE THEATRE MAGAZINE 



for the 



K. The "Mado" bathing hat is 
fashioned from Bulgarian silk 
in its many gay colorings and 
there is an inner tight-fitting 
rubber cap to protect the hair. 
This hat can be bought for $2.50. 




L. The jaunty "Claudine" cap 
is particularly becoming to the 
piquant face. It is developed in 
rubber of various colorings and 
has two satin quills standing 
7VM' stiff and very erect in the 
front. The price is $1. 



M.The "Phillis" hat is delight- 
fully girlish and practical as 
well, for it shades admirably the 
face and the back of the neck. 
It is made of white rubberized 
cloth and has an inner tight- 
fitting cap of rubber. The sell- 
ing price is $1. 



N 1. The "Biarritz" bathing suit 
is fashioned from a heavy, soft- 
finished satin. The skirt dis- 
plays drapery discreetly used, 
and the color note is introduced 
by the collar, the vest, and the 
crushed girdle of Copenhagen 



bli'e silk popli'i. This model is 
also sold in all -black a H d . 
$S.!,f>. The cap of black, navy. 
purple, and green sat in lias a 
narrow U'h-te piping, and costs 



N 2. The idea for the "Ostcnd" 
bat hi n tj \uit <>) heavy, twill crepe 
dc chine was borrowed from 
I^a-'is. The skirl is also draped, 
and the natty bolero jacket fas- 
tens over a vest oj 'clitic silk 
poplin with trimmings of Bul- 
garian silk. The same effect is 
reproduced mi the sleeve. '/ his 
model sells for $1 *."><. 1 he cup 
may be bought in the plaid taf- 
feta or in the plain colors, with 
a don hi c platted niche at the 
face, for $!.!:>. 



A' X.Tltc "Ai.v" model in striped 
black and white twill silk ;. 
be very becoming to large U'on^'u. 
It can also *be secured in lite 
plain navy blue or black mcs- 
saline with white moire silk col- 
lar and cravat for $5. The Tain 
o'Shanter cap is fashioned 
lite striped satin, black and 
white, or navy blue and white, 
with two tabs of the material tit 
the side. The price is $2. 



O 1. Bathing shoes which can be 

bought in canvas for oOc. ; tit navy or 

black sateen for 95c. and .$1.45, and of 

satin with silk laces for $1.95. 



O 2. These high-cut bathing 
shoes in black or white canvas 
with cotton laces cost 95c. ; in 
black or navy blue sateen with 
silk laces, $1.95. 



O 3. Bathing shoes of black, 
navy, or white canvas cost ;jiu\ ; 
of navy or black sateen, 95c.; 
of black or navy satin, $1.45. 



Names of shops where the costumes shown on this page may be purchased will be furnished on request. 



THE THEATRE MAGAZINE ADVERTISER 



"Mum" 

is the greatest toilet comfort 
you ever had. It gently neu- 
tralizes the 

odor of perspiration 

and other bodily odors, pre- 
serves the soap -and -water 
sweetness "from bath to bath". 
Little needed at a time, and 
that little is applied in a 
moment. 

25c at drug- and department-stores. If 
your dealer hasn't "Mum, 1 ' send us his name 
and 25 cents and we'll send it postpaid. 

"Mum" Mfg. Co. i 1 06 Chestnut St. Philadelphia 



XIX 



COGSWELL'S HAND LOTION bring, joy 

and comfort to those exposed to the burning 
sun. It is comforting, soothing and healing and 
leaves the skin clear, fresh and inviting. Be 
prepared for the tortures of sunburn by having 
a bottle handy. Postpaid, 50 Cents 

COGSWELL'S FOOT TONIC c 0mes .. a 

welcome friend to tired, aching feet. Allays 
inflammation, reduces swelling. An excellent 
remedy in the treatment of chilblains and 
inflamed bunions. Its ingredients are >o pure 
and soothing that it may be used with perfect 
safety on any part of the body. Price, $1.00 

REDUCING SALVE is a scientific discovery 
for the reduction of excess flesh. It necessitates 
no change in one's diet or daily routine of 
living. Unlike other reducing salves, it is' a 
most beneficial tonic for the nerves. Guar- 
anteed absolutely harmless. $2. 00 a jar 

Personal attention of Dr. E. N. Cogswell 
given all letters requesting Information 

DR. E. N. COGSWELL 

Surgeon-Chiropody and Expert Manicuring 

418 FIFTH AVENUE 
NEW YORK CITY 

On sale in New York at Franklin Simon & Co. 
and James McCreery & Co. 



Ask Your Milliner 

to show you the 
Quarterly 

Millinery 
Review of 
Fashions 

"Che jtulhoritu on Cornel Millinery 

150 NEWEST STYLES 

photographed on live models, issurd by 

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In all Up-to-Date Millinery Showrooms 





.-pmnrt 

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your while to send for sample. 20c. 
PARK & T1LFORD, 225 Fifth Art.. New York 



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XX 



THE THEATRE MAGAZINE 



A Nineteenth Century "Joseph and 
His Brethren" 

The successful production this season of the 
spectacular biblical drama, "Joseph and His 
Brethren," by Louis N. Parker, recalls an earlier 
play of this exact name by Charles Jeremiah 
Wells with a very curious history. It is doubt- 
ful if any production of note in English litera- 
ture has had such strange vicissitudes of fame as- 
this earlier drama on Joseph. Published in 1824 
by a young man who was a member of that 
"Cockney School of Poets," the most famous 
product of which was John Keats, it fell abso- 
lutely dead from the press. In 1837, however, 
Rossetti, the pre-Raphaelite poet, came across 
the play and immediately began to laud it en- 
thusiastically everywhere. It became a sort of 
cult for the bright young men of the day, until 
in 1876 a reprint of it appeared with an intro- 
duction by Swinburne. Its reputation thereafter 
was secure. Wells himself, strange to say, was 
still living at this time and thus was enabled to 
enjoy a measure of fame that he must have long 
ceased to expect. 

Wells's drama has many merits. From the 
literary standpoint, it was declared by Rossetti 
to be "more Shakesperian than anything else out 
of Shakespere." Had it been published as a 
newly discovered Elizabethan play, critics would 
undoubtedly have ascribed it, in whole or in part, 
to the hand of the author of "The Midsummer's 
Night's Dream," and of "Romeo and Juliet." It 
is full of the tricks of style and the turns of 
rhythm of the great dramatist. Further, the 
play is remarkable in that it is one of the few 




LOUIS N. PARKER 
Author of "Disraeli," "Joseph and His Brethren," etc. 

successful representations in dramatic form of a 
biblical legend. The early miracle plays, the 
various versions of the David and Bathsheba 
story by men like George Peele in the sixteenth 
century and Stephen Phillips in the nineteenth 
century, and Milton's "Samson Agonistes" are the 
only obvious exceptions to the statement that 
it has proved very difficult for most English 
dramatists to handle a theme from the Bible. 
There are numerous reasons for this fact. 
Every biblical theme labors under the disadvan- 
tage that it is inevitably associated in the mind of 
the reader with other than literary and especial 
emotions. It recalls the religious impressions of 
childhood and the spiritual struggles of man- 
hood. Moreover, none of the biblical stories is 
couched in even approximately theatrical form, 
and the original narrative or lyrical mould in 
which the events are cast was so powerfully 
wrought out by the Hebrew craftsman, so tem- 
pered and hardened in the crucible of an intense 
if partially unconscious artistry, that the modern 
literary workman finds it almost impossible to 
break up the resisting elements and melt them 
into any new form. There is, finally, the danger 
that this same modern craftsman is not always 
likely to approach his subject with proper sym- 
pathy. He will not be moved by the religious 
fervor that inspired the original text, nor un- 
derstand the psychological forces that animated 
the characters therein depicted. 

All of these dangers Wells avoided with much 
grace and effect. He produced in "Joseph and 
His Brethren" a rendering so thoroughly har- 
monious with the conceptions all of us have of 
the magic story of the boy seer that we feel no 
jar in passing from the biblical text to the mod- 



ern production. Moreover, he was carefully 
reminiscent, wherever possible, of the original 
narrative, and his superb additions dovetail with 
remarkable nicety into the story as told in 
Genesis. He was appreciative too of the beauti- 
ful piety of the tale, and nothing that he says, 
no part of the action he describes clashes at all 
with the religious emotions inspired by the 
biblical narrative. Yet the play is by no means 
merely a mechanical recast of the Bible story. 
His novel and rich version, with its striking new 
speeches and action, contains much not hinted 
at in the original and much new characterization 
that is all Wells's own. 

The play of Wells, like that of Parker, is 
largely a pageant. There are picturesque pas- 
toral scenes ; a scene in which the caravan of the 
swarthy Egyptians, "yellow as their gold," ap- 
pears ; a scene in the prison wherein Joseph lies 
confined ; a scene in Pharaoh's court ; a scene 
showing Canaan in the midst of famine, and 
the like. But in other scenes the intensely dra- 
matic rather than the picturesque appears. Such 
are the scene in which Phraxanor for so Wells 
calls the wife of Potiphar tempts Joseph with 
magnificent passion, and the scene in the vale of 
Goshen in which Joseph and Jacob meet again 
with a happiness so great as almost to be pain. 
The most powerful creation of the play is the 
character of Phraxanor, of whom Swinburne 
said that she compared only with Shakespere's 
Cleopatra. She stands out as a superb creature, 
overpoweringly, vital and dramatic. The sons 
of Jacob are sharply characterized, and Jacob 
himself is a striking figure. The language of 
the play has already been spoken of. Probably 
herein lies its greatest merit. Again and again 
the lines approach the very height of poetic 
style, and certain passages, like the famous de- 
scription by Reuben of the beauty of Rachel, 
have become classical. The speeches of Phraxa- 
nor again stand out by reason of their force 
and beauty. 

It seems unquestionable that Mr. Parker is 
not unindebted to his predecessor. He has 
studied, not inaptly, the pastoral scenes in partic- 
ular and the character of Phraxanor. In many 
respects, his play is better suited to the stage 
than that of Wells; it contains much more of 
the true virus of the drama. His handling of 
Simeon's character surpasses that of Wells's ; his 
Joseph just out of prison is a striking figure 
unequalled in the older author; and he has man- 
aged his suspense throughout more curiously 
than his precursor. It is noteworthy that two 
such successful adaptations of a biblical story 
should centre around the same figure. It is 
quite probable that the fascinating story of 
Joseph with its dramatic shifts and sudden 
crises, will always attract the skilful artisans of 
the theatre. MAX J. HERZBERC. 



THE 


NEW 


PLAYS 



NEW AMSTERDAM. "Mv LITTLE FRIEND. 
Musical farce in two acts; from the German of 
Willner and Stein; American adaptation by 
Harry B. Smith and lyrics by Robert B. Smith; 
music by Oscar Straus. Produced on May igth 
with this cast: 

Count Artois, Fred Walton; Fernand, Craufurd Kent; 
Barbasson, William Pruette; Mme. Barbasson, Edith 
Sinclair; Claire, Juanita Fletcher; Louison, Reba Dale; 
Philine Leila Hughes; Saturnin, Charles Angelo; Mou- 
chon, Harry Macdonough; Dr. La Fleur, Lionel Ho- 
garth- Margot, Mattie Martz; Piperlin, H. Macdonough, 
lr Gaby, Marcie Lawson; Paillette, Hallie de Young: 
Dr Calineau, R. M. Simson; Mme. Calineau, Grace 
Bishop; Mayor of Mironville, Maurice Cass; De Po- 
lichard! Harry Nelson; Mme. De Polichard, Cora Wil- 
liams- Baron DuBois, Harold Merriam; Baroness Du- 
Bois, Helen Gilmore; Mme. De Bergerac, Violet McKay; 
Col. De Bergerac, Harry Lang. 

The tendency in comic opera production to re- 
turn to consistent form in story and plot is 
marked. The result is that we are having saner 
entertainments of the kind. It doesn't matter 
how trivial the story, it is better than no story 
at all. Often enough that about which the action 
is concerned is slight and the music substantial. 
Nor does it matter that most of these acceptable 
recent productions are adapted from foreign 
sources. This only means that other energies 
and capacities are applied to something that is 
already good. "My Little Friend'' comes as a 
happy result from this combination of circum- 
stances and energies. The original book was 
written by Willner and Stein, the American 
adaptation by Harry B. Smith. The lyrics are 
by Robert B. Smith and the music by Oscar 
Straus whose charming work in "The Chocolate 
Soldier" and "The Waltz Dream" is assurance 
enough of its quality. The musical part of the 
entertainment is so strong that criticism of a 



weak passage or two in the dramatic part of the 
production would be to little purpose. The dram- 
atic part of "My Little Friend" is often extrava- 
gant and farcical. An impecunious Count (with a 
son, and self-made millionaire with a daughter, 
arrange to make their children marry without 
previously consulting them or questioning them if 
they were free to give themselves to the bargain. 
The son has already made his choice and present- 
ly marries in secret. The girl has bestowed her 
heart according to her own fancy. It is from this 
state of affairs that the complications begin. The 
advantage of a well-ordered story is that the 
people in it are characters. Thus Mr. Fred Wal- 
ton has his opportunity in the part of an old 
nobleman who is most in need of money, an 
embarrassing and amusing condition of affairs for 
a pampered aristocrat who cannot comfortably 
breathe without it, and who will resort to any 
sacrifice of pride, while pretending to maintain 
his pride, in order to get it. Mr. Pruette was 
artistic in the role of a self-made millionaire, 
ignorant and socially ambitious. Miss Leila 
Hughes, capitally efficient in the light comedy 
part and delightful in her songs, was piquant as 
the Girl of the Florist shop secretly married to 
the dashing and adventurous son of the aristocrat. 
Crauford Kent, the son of the nobleman ; Miss 
Reba Dale, the companion of the secretly mar- 
ried girl, and Maud Gray, the daughter of the 
vulgar millionaire, were conspicuous in a cast 
that was satisfactory. 



FORTY-FOURTH STREET ROOF GAR- 
DEN. "ALL ABOARD." Musical comedy in two 
acts. Book by Mark Swan, lyrics by E. Ray 
Goetz. music by E. Ray Goetz and Malvin Frank- 
lin. Produced on June 5th with this cast: 

Jan Van Haan, Lew Fields; Captain of the ship, Law- 
rence D'Orsay; Marime Sinkavitch, Zoe Barnett; Dick. 
Carter DeHaven; Mary, Flora Parker-DeHayen; Hook, 
Nat Fields; Alice Brown, Venita FitzHugh; Tillie White- 
way, Dolly Connelly; Mrs. Van Haan, Marcie Harris: 
Mr. Smooth, Stephen Maley; Mr. Ruff, Ralph Riggs; 
Purser, Juan Villasana; Mr. Scott, Arthur Hartley; 
Tones, James Grant; A Bridegroom, Malcolm Grindell; 
Robinson, Arthur Hartley; Nancey Lee, George W. Mon- 
roe; Russell, Will Philbrick; Fourth Mate, Olin How- 
land; Carmen, Natalie Holt. 

Lew Fields' lastest offering "All Aboard" is a 
capital summer show, and well deserves the good 
business it is doing at the comfortable and at- 
tractive roof garden atop the new Forty-fourth 
Street Theatre. 

Jan Van Haan, an old sailor, wishes above all 
else to become a captain of an ocean vessel. 
Upon hearing of his ambition, two men sell him 
a worthless captain's certificate for $100 all he 
possesses. Going to the pier he learns that he 
has been buncoed. The disappointed sailor falls 
asleep and dreams that he is captain of a ship 
visiting all the important portions of the globe. 
\Vhen he awakes, he finds that he is still on the 
pier. 

The part of the sailor offers Lew Fields ex- 
ceptional opportunities. He scored a great hit 
in the suffragette sketch "When Women Rule," 
Zoe Barnett and George W. Monroe giving the 
star excellent support. The costumes, designed 
by Melville Ellis, are handsome and numerous 
and the scenery all that the most exacting could 
ask for. 

The Hunt for Plays 

While a considerable amount of sympathy is 
being lavished on the "unknown playwright" who 
raises the complaint, loudly and periodically, that 
theatrical managers decline to receive him or his 
wares, the fact is overlooked apparently that a 
more equitable distribution of the sentiment would 
include some of the most prominent players of 
the American stage. If the "unknown playwright" 
encounters obstacles and difficulties in getting his 
script before the producer the players who are 
widely known find even greater difficulty in ob- 
taining suitable plays. The author, with all the 
confidence of youth and ambition, has something 
to sell. The player, with years of experience 
behind him, needs what the former has to market. 
Singularly enough, though, the two fail to get to- 
gether. 

And naturally enough the question arises as to 
whether the fault rests with the one or the other 
or with neither, but instead with the producer. 
One can readily name a dozen prominent actors 
and actresses who need plays, to say nothing of 
the host of less conspicuous players, and any pro- 
ducer of prominence can probably read off a list 
of a hundred writers who believe they are dram- 
atists. But while the demand exists neither the 
"unknown playwright" nor the known dramatist, 
either, for that matter, is meeting it. The late 
Clyde Fitch was fond of remarking that he never 
knew a demand to exist without a supply arising 
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CONTENTS: AUGUST, I H5 

Edited by ARTHUR HORNBLOW 

COVER : Portrait in colors of Miss Annie Russell in "The Rivals." 

CONTENTS ILLUSTRATION : Doris Keane in the Dressing Room of Maxine Elliott's Theatre. 

TITLE PAGE: Laura Hope Crews 

PLAYS AND PLAYERS . ' 

REMINISCENCES OF AN ACTRESS Illustrated 

ETHEL AMORITA KELLEY Full-page Plate 

EDITH AND MABEL TALIAFERRO Full-page Plate 

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NOTABLE STAGE FIGURES OF THE SIXTIES AND SEVENTIES Illustrated . 

COMIC OPERA OLD TIMERS 

PLAYERS I HAVE KNOWN Illustrated 

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SCIENCE AND THE STAGE 

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Ada Patterson 

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The Biography of 
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ETHEL AMORITA KELLEY 
Thin attractive actrew i> now appearing in the "Ziegfeld Fol!>i" at the New Amsterdam Theatre 



THE THEATRE MAGAZINE 




VALLl-VALLI 
Who plays the role of Wanda in "The Purple Road" 

women: Madame de Pompadour, with her stately dignity; 
Madame UuBarry with her roguish smile and her mischievous 
eyes, and a little further, the noble, beautiful and unfortunate 
Marie Antoinette. Here is the "Serment du Jeu de Paume," 
the great revolutionists, Camille Desmoulins, Robespierre, 
Danton; in the midst of them, a young man, with long dark 
hair and a stern face is listening to these leaders of a cause, the 
remnants of which, when the Revolution has done its work, he 
will crush under his heels and give to France a master who 
shall rule her with an iron hand. And the gardens! And the 
fountains! And Trianon! Ah, Versailles! A poet alone can 
sing thy praises. In the language of the gods only, can one do 
justice to thy grandeur and thy magnificence! 

The Louvre was not less attractive to my young imagination, 
but it lacks the poetry one breathes at Versailles. At the Louvre, 
the shadow of Catherine de Medicis, the massacre of Saint 
Bartholomew, the recollection of assassinations, plots, dark 
deeds, make one gloomy and depressed. But who can look upon 
those marvels of the sculptor's art that meet the eye at every 
step and remain insensible to their power and beauty? Ah, 
Realism! Cast an eye on these Apollos, Venuses, Gladiators 
and tell me if art is not an inspiration of God. to show men 
what they would have been had sin not sullied them. Therefore 
art should idealize everything. It is heavenly; why try to make 
it earthly ? Lift me up, but do not drag me down ! 

The study of those faces, those costumes, those attitudes, made 



such impression upon my mind, that when I wore for the 
first time gowns of the seventeenth or eighteenth century, 
1 felt even more at home than in my modern dresses. 

My first appearance in public was made at the Salle 
Pleyel in Paris; I had two charming friends, sisters, both 
talented musicians, who belonged to the Polish nobility. 
Though poor, they were highly patronized by their wealthier 
countrymen. Every year they gave a grand concert at the 
Salle Pleyel. They proposed to me one day to recite at 
their concert; I consented, of course, and decided upon 
"La Nuit d'Octobre," by Alfred de Musset. The day of 
the concert I was at the hall two hours before time, dressed 
all in white as a muse ought to be, for I was to represent 
the Muse of Poetry. I knew no fear and was full of im- 
patience for my turn to come. It came. . . . Oh, Mon 
Dieu ! Mon Dieu ! ! Mon Dieu ! ! ! I could not move, I 
was paralyzed; it required the inducement, the persuasion 
of everyone around me, to bring me to my senses. Sud- 
denly, before I knew it, I stood facing that immense au- 
dience, my legs shaking, my lips trembling, my teeth chat- 
tering; but I had hardly spoken four lines when I recovered 
my self-possession and I went on without a break. The 
applause of the public, the first I had ever received, sounded 
like sweet music to my ears ; and the congratulations of 
the artists, the compliments of the critics, the flowers sent 
to me by my friends, all this completely intoxicated me. 
I thought myself nothing less than a goddess and I walked 
on air the rest of the evening. It was a red-letter day in 
my existence, a day never to be forgotten. This was my 
debut in the artistic world. 

Having spent already a good deal of the money left me, 
I went to Brussels, determined to test my ability, to learn 
whether or not I should be successful in the career I had 
chosen. After seeing several managers, I was chosen for 
the part of Helene in "Les Doigts de Fee." No choice 
could have been more lucky. The part was pleasing, 
sympathetic, and my very unconsciousness of the task I 
had undertaken added a charm to my acting. It is only 
after some disagreeable experience that one realizes the 
difficulties of this profession and loses that self-confidence 
which all beginners possess and which must have inspired 
that old proverb : "Fools rush in where angels fear to tread." 
That disagreeable experience came soon enough. I had 
to play a part in verse and was not very sure of my lines. 
When night came I went on and stopped short in the first 
speech. In my trouble I did not hear the prompter. I had 
only one thought, to rush off the stage. The other actors went 
on fortunately without their cue. but when the curtain fell 
they had a good laugh at me, while my heart was beating with 
shame. My sister, who had witnessed the performance, felt so 
mortified that she spoke of nothing less than of my leaving the 
stage and giving up acting altogether. I know I must have 
looked like a goose; still, I was not to be discouraged by that, 
which, after all, was only a little incident, that could have hap- 
pened to a genius; I spent the whole night studying my part 
and next morning I was letter perfect. 

Ditring that season I had the opportunity of appearing in 
several great plays, among others : "L'Ami des Femmes" ; "Le 
Roman d'un Jeune Homme Pauvre"; but my favorite part was 
Queen Anne in "Le Verre d'eau." 

It was in Brussels that I met Mile. Desclee. Aimee Desclee ! 
As I write her name, tears come to my eyes tears of regret 
for that departed genius taken away in the zenith of her glory. 
I had seen her in "Frou-Frou," which brought Paris to her feet ; 
in "La Princesse Georges," "Diane de Lys," and to me she was 
the personification of dramatic art. 

An actor of the company and his wife, who had travelled 
with her on several tours through Italy, knowing my admiration 
for the great actress, planned a little surprise for me, which 
they knew would be a genuine pleasure. 



THE THEATRE MAGAZINE 



43 




It was Christmas 
eve ; they asked me to 
take supper with them 
after the play, very in- 
formally. They said 
that there would be but 
one guest besides myself, 
an actress friend from 
the provinces. I was 
delighted, for, except 
acting, nothing then 
pleased me more than to 
talk about acting. I 
went at the appointed 
hour. On entering the 
room, they introduced 
me to a lady of medium 
height, very simply at- 
tired in a plaid gown, 
her hair combed back, 
showing a broad fore- 
head, with soft, languid 
eyes, a rather sad smile 
but a "je ne sais quoi" 
that set my heart a-beat- 
ing and left me speech- 
less, with my eyes 
rivetted on her. My 
friends could not help 
laughing. Where had I 
seen those eyes? When 
had I felt the magnetic 
spell of that presence? 
Having sufficiently en- 
joyed my bewilderment, 
my friends introduced 
me. At the name of Desclee, I could hardly speak. I uttered a 
few words, which were meant for a compliment. 

"Yes, yes," she said, with a bitter smile, "I know I am a great 
actress ; if I doubted it, I would only have to look at my dress- 
maker's bill ! Ah, it is expensive to play the leading parts in 
Paris ! Bah ! Never mind ! When I am ruined and they get 
tired of me, I will join your stock company. How jolly that 
will be!" 

We sat at supper. What did we eat ? What did we drink ? 
I cannot tell. I, who generally could not keep my mouth closed 
a minute, was listening to that woman, so great and yet so 
unaffected, whose conversation upon every topic was a delight. 
O divine simplicity of genius ! Why are your altars deserted ? 
What surprised me was that beneath her mirth (for she could 
laugh with the abandon of a child) there was a sort of melan- 
choly that oppressed the heart. No wonder: it was a foreboding 
of death. The divine spark that animated that body was about 
to leave it. She died two years later, at the age of thirty-six, 
robbing the world of a genius that has never been surpassed. 

After a season at Brussels I went to Rouen, which is only 
two and a half hours from Paris and considered the second 
theatrical town in France. 

The Rouennais are very what shall I say, critical? Judge 
for yourself. They pride themselves on having hissed Talma, 
who. though considered France's greatest tragedian, was not 
sufficiently great for them. Therefore, it is not without fear 
that an actor makes his debut in that capital of Normandy where 
genius failed to gain approval. But I suppose that geniuses 
only are thought worthy of their criticism and that young 
debutantes are looked upon with charitable condescension by 
them, for. in spite of my little experience, I was accepted. 

A debut in the French provinces is by no means an easy ordeal 
to pass through. An actor has a right to choose three different 
parts, which must be played inside of a month. The first and 



Miss Billie Burke and her canine pet, "Toots," out shopping in her new 19H Packard Landaulet 



second debuts have no significance; he may be received coldly, 
critically or enthusiastically it has no meaning; the third one 
decides his fate. That night, after the play, the manager, very 
solemn in his dress-suit, appears before the audience and says: 
"Monsieur or Mile. So-and-So has made his or her debut; the 
management wishes to know the verdict of the public." 

Then he produces a placard, on which is printed in large let- 
ters the word "ACCEPTED." If the actor pleases, the audience 
applauds ; if not, it hisses until the manager produces another 
placard with the word "REFUSED." Then the applause starts 
again, without regard for the feelings of the poor, broken-hearted 
girl or boy, who has been waiting in the wings for the verdict 
of that inhuman jury called the public. 

The Theatre Franc.ais at Rouen is built on the spot where 
Joan of Arc was burned. In that theatre were given, imme- 
diately after their first production, all the great successes of 
Paris. Besides, every Sunday, we played a drama at St. Sever, 
one of the suburbs of Rouen. These performances brought to 
mind those given by the strolling players of old. They were 
not artistic, oh no ! We hardly knew our parts, but the applause 
of the galleries, which were crowded to suffocation, intoxicated 
us, fired our enthusiasm and gave to our acting a conviction 
that made up for whatever was lacking in finish. 

Our salaries were small; our work very hard. We spent our 
nights studying our parts and our days rehearsing them, but 
what did' it matter ? There, in the distance, stood the ladder of 
fame, and to reach the goal we were ready to walk on thorns, if 
need be, even with a smile upon the lips. Ah, people who have 
not struggled have not lived ! 

As I look back upon those days, a feeling of sadness comes 
over me; youth is too short. What fun we had during the 
rehearsals at St. Sever ! We were more like children than actors 
striving to win fame and fortune. Our stage manager looked 
like an old school teacher and we played pranks on him, just as 



44 



THE THEATRE MAGAZINE 



a lot of gamins would have done. Monbazon, our leading man, 
especially, was forever inventing some new joke. 

The theatre at St. Sever was formerly a circus. It was a 
huge building with a seating capacity of three thousand. The 
curtain rose generally at half -past 
seven, but the crowd was so great 
that sometimes at half-past eight 
the audience was not seated. Then 
while the heroine was relating her 
tales of woe and the hero was 
swearing to avenge her, the public 
shouted "Down with the curtain ! 
Begin again!" But, without pay- 
ing the slightest attention, we went 
on amid the uproar until finally it 
quieted down. 

Some of the performances lasted 
until two o'clock in the morning. 
They were for the most part his- 
torical or romantic plays, in twelve 
or fifteen tableaux: "La Dame de 
Montsoreau," "La Reine Margot," 
"Xotre-Dame de Paris," "The 
Wandering Jew," "Joan of Arc," 
etc. 

Apropos of "Joan of Arc," an 
amusing incident occurred of which 
I was the victim. I was cast for 
the part of Joan, and Rouen, being 

the place where she was sacrificed, great interest, of course, was 
aroused in the production of the drama, especially as for the 
occasion an old senator, who lived at Rouen, had written several 
speeches in honor of its brave inhabitants, speeches intended to 
appeal to their patriotism and to flatter their pride. The play 
was splendidly mounted and the performance was a great suc- 
cess, the Senator's speeches arousing especial enthusiasm. For 
my part, I had consulted the archives, so religiously kept in 
the City Hall ; I had studied every image, every statue represent- 
ing the brave heroine of Domremy, and I must say that I suc- 
ceeded admirably in my make-up. The supers, at least two 
hundred in number, were soldiers of a regiment of hussars 
stationed at St. Sever. 

The play was going on admirably, the siege of Orleans being 
particularly realistic, so realistic, in fact, that when I stood on 
the rampart, waiving triumphantly the white banner with the 
fleur-de-lys of France, I received a charge of powder in my 
hand from which I suffered for a week afterward, although I 
felt nothing in the excitement of the moment. 

In the last act, while I ascended the steps leading to the stake. 
I could hear sobs of pity and sympathy all over the house, and 
when the flames began to arise a shiver of horror ran through 
the audience. But soon I heard a titter that increased until it 
became a roar of laughter. My eyes were closed ; I could not 
be so inartistic as to open them, however anxious I might be to 
know the cause of the untimely hilarity ; but when the curtain 
came down, the sight I beheld was so ludicrous that although 
it had ruined the act, it did not keep me from joining in the 
general fun. This is what had happened. After the burning 
at the stake, Joan, in an apotheosis, ascends to heaven supported 
by clouds. As the ascension began, the clouds broke, and there 
I stood, my head in the air and my feet on earth, my body hid- 
den by the only piece of cloud that had done its work. So 
ended that memorable performance, which I thought would 
carry me down to posterity and render my name immortal . 
Alas, on what frail threads hangs our destiny! 

During my engagement at Rouen, I had the good fortune of 
acting several times with the great comedian Coquelin. He 
came regularly every fortnight and that week our work would 
be simply overwhelming. We had the Sunday drama to study, 
a play for the week and Coquelin's extra performance. There 




SELENE JOHNSON 
Lately seen as Mrs. Martin in "The Argyle Case" 



are actors who favor these quick studies ; I do not agree with 
them. Nothing good can be done in a hurry. Memory and 
nerves are taxed to an extent that is detrimental to both. The 
actor rushes through the part without finish or attention to 

details, having only one absorbent 
thought: the words. I remember 
once playing with Coquelin "Ga- 
brielle" by Emile Augier. The 
play is in verse and I had had only 
one rehearsal, as was always the 
case with the celebrated actor. 
During the whole performance I 
kept my eyes fixed on a certain 
spot trying to concentrate my mind 
on my part. After the play, 
Coquelin asked me why I never 
looked at him. "If I had I should 
not have been able to go on," T 
replied. 

Among the many parts I played 
with him were Cathos in "Les 
Precieuses Ridicules." Gabrielle, 
"Le Mari a la Campagne," "Le 
Mariage de Figaro." But the one 
performance I shall never forget 
was that of "L'Etourdi." Usually 
at rehearsal Coquelin omitted his 
long speeches and rushed through 
his part, coming straight to the cue. 

In "L'Etourdi" he had a speech of at least thirty lines in length, 
which he spoke with a velocity that was bewildering. When he 
began, I looked at him with such amazement that he could hardly 
refrain from laughing. I was dazed ; it was like a whirlwind 
and when he gave me my cue, I quietly turned my face away, 
showing him, by this action, not to rely upon me for the next cue. 
Is that good schooling for beginners? I believe not. I think 
that it is especially at the opening of a career that one must be 
very careful not to fall into bad habits. These hurried studies 
give one a nervousness and a lack of confidence that may prove 
fatal in after years. 

The season in Rouen had completely exhausted me ; besides I 
thought I had had sufficient experience to try my fortune in 
Paris. I started once more for the great capital, thinking that 
like Caesar I would come, see and conquer. 

I came, but I did not see. Every manager's door was guarded 
by a Cerberus, who invariably told me: "Monsieur is not in." 

Fortunately, letters of introduction opened to me the doors of 
the artistic world, which otherwise would have remained closed. 
My first visit was to Madame Doche, the original interpreter of 
Camille, or, rather, "The Lady of the Camelias," as it is called 
in France. She received me with the same charm, the same 
womanly grace, with which I had seen her play "Camille." 
When I hear people raving to-day over loud, hysterical, vulgar 
Camilles, I think of her delicate rendition of the part, and I say : 
"Autre temps, autres moeurs." 

Her large apartment was most luxuriously furnished ; no trace 
of luxurious disorder ; everything showed the refined taste of the 
owner. I recited to her a poem of Francois Coppee. She was 
so well pleased that she gave me a letter to the young poet. 

I found Coppee, later the celebrated academician, in a little 
back apartment, Rue Oudinot. The floor was of red brick and 
he himself was attired in a red flannel jacket. And was it there. 
in this humble abode, that he had written the "Passant" that 
exquisite poem which on its first appearance made all Paris 
exclaim : "Unto us a poet is born" ? Ah ! but the man who had 
written those pages had enough sunshine in his heart to flood 
the whole universe. Besides inspiration does not seek gilded sur- 
roundings ; it comes to the true born poet in his garret with 
greater speed than in the sumptuous dwelling of the rich. 

In spite of his young celebrity, (Continued on page xiv) 



!> ' 
' i 



> C* 1 



? 

. 



.-u-ti. ' 





Mishkin 



EDITH AND MABEL TALIAFERRO 
These well-known and popular actresses will appear next season in a new play by Cleveland Moflfett 



if ^-mi =1 




-,Vl 





I 
. 






White 

GEORGE FAWCETT 



George Fawcett, 

I DON'T believe in telling too much." 
George Fawcett stirred the sleeping body of Brownie 
gently with his foot. Brownie, his brindle bull terrier, 
gifted with marvellous repose and indifference to most external 

t things, slept peacefully on at his 

master's feet in the star dressing- 
room at the Astor Theatre. 

"In an interview?" I queried, 
looking at the rather heavy face that 
despite its heaviness has a marvellous 
mobility and power of reflecting 
emotions and states of mind, even to 
the back row. 

"No," he rejoined, "on the stage. 
I believe in suggestion. What I 
should like to do, and hope soon to 
do, is to play Macbeth and Othello 
in that way. A street scene, for in- 
stance, will not be shown as a street 
scene. There will be a painted drop 
suggesting one. That is all and that in my opinion is enough 
The suggestion in acting is powerful. An instance of that re- 
curs to me in connection with 'The Squaw Man.' I am in that 
play offering a young fellow a souvenir. I say to him 'I meant 
to give it to you before, but my mother That, to my mind, is 
quite enough. Coupled with a pause and a deepening gravity 
of face it means but one thing. The article had belonged to my 
mother, for that reason was sacred to me and I had not wished 
to part with it before. In England they always got that message. 
In my own country they did not always." 

Brownie snored faintly at his master's feet. There was an 
hour until the curtain would rise on "A Man's Friends." With 
this unwonted leisure in prospect Brownie's master grew rumi- 
native. 

"Only one person out of a hundred knows acting," he re- 
marked. 

"That one person in a hundred is what sort?" 
"That one person must have studied acting," he returned. 
"No one makes the attempt to criticise nor even expects to ap- 
preciate a picture without knowing something of the principles 
of drawing and painting. It is the same about music. In Eng- 
land they have clubs for the study of acting as an art. The 
Drama League of our country is such an organization. Seeing 
many plays and thinking of and analyzing the performances is 
the study of acting," said he. 

Looking at George Fawcett, realizing that his following, a 
strong one, is a cult whose standard is the best acting, I asked : 
"How many years does it take to make an actor?" 
"Ten years," he responded without hesitation, "ten years to 
make a good actor, twenty years to make a great one. Learn- 
ing to act is a slow, steady process, with accident figuring largely 
in it. Accidents furnish opportunit : es. I had been playing for 
fifteen years before I knew I could play comedy. It was an 
accident that revealed it to me. While I was managing my 
stock company in Baltimore a comedy pap had to be filled. 
There being no one else to play the part I tried it, gave myself 
and others who had thought of me only as a serious actor, a 
surprise. 

"Actors have three notes. They make the vital appeal, the 
comedy appeal, and the sympathy appeal. Many men, and suc- 
cessful ones, can strike only two of these notes. Some can strike 
only one. Few can make all three kinds of appeal. 

"Many have tried to define acting. There have been all kinds 
of definitions, academic and ridiculous. The definers drift far 
out to sea when they make the attempt. Everyone has a defini- 
tion that suits him or his needs. Mine is 'Acting is a state of 
mind.' We get into such state of mind that we influence our- 
selves and others to believe that what we do is reality. Acting 
is a flash from one mind to others, The more of the 'others' 



and the more powerfully the message reaches, the greater is the 
acting." 

"Then you think the appeal of acting is to the mind? There 
is belief that acting appeals primarily to the feelings." 

"Some acting does, but it isn't the best. Great acting always 
makes its appeal to the brain." 

George Fawcett has been a player of many parts. The Faw- 
cett cult thinks he grazes the sky in the scale of eminence in this 
country. What he plays is always played well, more than well, 
with unction of reading and with power of personality. His 
variety of presentations has been infinite. Yet we have not 
identified him inseparably with any one part. Quite uncon- 
sciously he was following my train of thought for his words 
trod upon the heels of my conclusion. 

"Whenever there has been a pre-eminently successful actor in 
this country there has been association of him with one part 
that made a powerful personal appeal," said he, his head bowed 
thoughtfully, his tone reflective, his eyes bent sombrely on 
Brownie's sleek brindle back. 

"Joseph Jefferson had his Rip Van Winkle, Richard Mansfield 
his Dr. Jekyll and Mr. Hyde. In America they measure a man 
by his most popular part. In England they measure him by his 
ability to play everything he undertakes well and by the variety 
of parts he can play. The English standard is more just." 

We will not permit England to claim the discovery of George 
Fawcett, but England did emphasize for us the fine flavor and 
the delicacy of shading of his performances. Club doors flung 
open for him. Dinners were incomplete without him. "Go to 
see the wonderful American in 'The Squaw Man,' said the news- 
papers and magazines. 'His art is like dry wine.' " 

Mr. Fawcett began in Virginia. The University, founded by 
Joseph Jefferson, and that caps the hills of Monticello, moulded 
him into young manhood, and New York and the road have 
contributed to his growth. He is yet incomplete. For the 
rounding of his career and the attainment of the pinnacle of his 
achievement I predict a period of actor-managership like his 
uniquely successful rule in Baltimore but in the larger domain 
of New York. 

He will write a book on "Acting," and it will begin with his 
discovery of the earliest playwright and that earliest playwright's 
mastery of the thirty plots on which all drama turns. 

"He had the plot of one person being mistaken for another. 
He had the locket story. There have been variations but no 
departures from his themes," said Mr. Fawcett. and he told me 
with the joy of the omnivorous reader in the taste of a differing 
morsel of letters of Aspasia to Pericles, which he had that after- 
noon found in a volume by Walter Savage Landor. "Aspasia 
was the greatest woman of all times." he said with kindling eyes, 
unsatisfied until I had promised to read every one of the afore- 
said letters. 

A boy with a voice that ran the gamut between treble and basso 
called "Half hour." Brownie's eyes opened and his ears pointed 
at this muezzin of the playhouse. Mr. Fawcett, with one eye 
on his make-up table, the other politely on me, concluded the 
interview : 

"There are many entertainers and only a few actors," he said. 
"That is what is discouraging, but there is reason for encourage- 
ment in the signs of discrimination we see and hear." 

"How ?" 

"In the applause at the right places," he said with a smile, 
boyish, sudden, ingratiating, that when turned on an audience 
makes it his own. 

That evening I heard such applause. It was for his perform- 
ance of the genial graft leader at points where tiny things con- 
veyed his meaning, things so small as a millionth of a wink, a 
duodecimal of a shrug. It vibrated with delight when he flun<j 
over his shoulder with an easy smile his defiance of the reformer. 
"You'll gee when we die that I'll have a bigger funeral than 
you," ADA PATTERSON, 




White 



FRANCES STARR 
This favorite actress, who was seen in Edward Locke's play.' "The Case of Becky." will appear next season in a new play 



LIGHT 'make-up' this afternoon, remember!" 
The stage manager of the "ten-twent-thirt" repertoire 
company sings out this reminder at the door of each dress- 
ing-room in turn, in most cases getting a cheerful "All right!" 
from within. Summer stock actors are good-tempered, hopeful 




Moffett 



HASSARD SHORT 
Now appearing as Alaric in "Peg o' My Htart" 



souls, as a rule. Besides, everybody in the Peachblow and Col- 
lins Company of players knows why they are to be chary of 
grease paint and talcum powder for this Wednesday matinee. 
There is to be a "reception" on the stage after the performance. 
This innovation, conceived by a successful manager of popular- 
price entertainment a few years ago (it was Corse Payton's 
idea, wasn't it?) has been adopted by stock companies all over 
the land, and it has always proved an attractive feature. On one 
afternoon in the week "admission ten cents to all parts of the 
house" everybody in the audience is invited to the stage after 



the final curtain, and most of them go. There they meet the 
players, sometimes to sip tea, poured by the leading lady herself, 
and nibble nabiscos handed around by the Apollo-like being, who 
has just played the hero in the drama. Could any greater joy 
for the matinee girl be imagined ? 

Now, although the face of an actor would look ghastly when 
seen across the footlights, unless it were made proof against dis- 
figuring shadows by skillfully applied paint and powder, the 
artificial coloring has a decidedly bizarre effect when seen at 
close range. So, to save the feelings of the matinee girl afore- 
said, who is to come intimately close to the members of the cast 
after the play, as little "make-up" as possible is used at "recep- 
tion matinees." 

The Peachblow & Collins offering this week is a modern 
society drama, with a "straight make-up" for all of the par- 
ticipants except the principal comedian, who has a "character" 
part that of a Chinese servant. He will have to put on a false 
yellow complexion, oblique black eyebrows and a bald wig with 
a pigtail. The other men merely substitute rouge and powder- 
easily brushed off for the heavy brick-red or pink grease paint 
generally employed as a foundation upon which to shadow and 
line the eyes, tint the cheekbones and carmine the lips. The 
average human countenance is presentable under rouge and 
powder, in artistic moderation, even in the street in daylight, and 
at the same time it will hold its own against ordinary stage 
illumination. As for the women of the cast, they can easily obey 
the order of a "light make-up." Just a trifle less rouge than 
usual and a sparing use of India-ink under the eyes will do. 

The play is in three acts, and at the end of the second, 
eighteen-year-old Mabel, just out of high school, whispers to her 
chum, Gertrude, with a feverish giggle: "Yes, of course we'll 
go up to the reception, and I'll introduce you to Clarence Peach- 
blow, the leading man. But you mustn't get too fresh with him. 
He belongs to me. I met him last Wednesday, and he told me 
to be sure and come this week, because he had something to tell 
me. You ought to have seen the way he smiled when he said it." 
"He's awfully good-looking, isn't he?" is all that Gertrude 
says w ith perhaps a reserved determination to be as fresh as 
she likes. 

"Swell !" is Mabel's response, passing the chocolate caramels. 
It is an up-State city of some 30,000 population, and the Peach- 
blow & Collins company has possession of the one regular 
theatre with the provision that when any high-priced travelling 
organization from New York or Chicago halts for a one-night 
stand, the stock company shall move out temporarily. Mabel 
and Gertrude seldom patronize the visiting entertainment. They 
regard it rather as an interloper, which rudely interferes at in- 
tervals with a well-ordered and satisfactory system. The young 
ladies belong to well-to-do families, but they much prefer their 
cheap stock company, with its homelike ways, its familiar faces 
and its little intimacies, to the big, assertive "production" which 
swoops down on the local "opera house" with so much bustle 
and noise, and after taking more money at the box-office in a 
night than Peachblow & Collins get in a week, kicks up its heels 
scornfully at the town and dashes away on an early train for 
the next stand as if glad to get away. 

Why, Mabel and Gertrude went only twice all last winter to 
see a performance of this kind. There was no reason why they 
should go, they would tell you. The city has two theatres de- 
voted to a combination of vaudeville and motion pictures, where 
they could have better fun at ten cents admission. Now that 
the summer stock is here, they see for a dime many of the 
talked-of plays that were presented in New York at $2 a year or 
so ago, and they haven't minded waiting. Besides, they are 
firmly convinced that Clarence Peachblow and the leading lady, 
Marguerite Collins, are much better in the principal role than 
were John Drew and Billie Burke, and similar eminent person- 
ages, who played the parts originally. 

So this afternoon, when, a few minutes after the end of the 
performance, the curtain again rises showing the drawing-room 
scene of the last act still set, but with most of the furniture out 
of the way, and two tables (Continued on page viii) 




Photos Otto Sarony Edith Whitney Lucille Cavanagh 

THREE ATTRACTIVE PLAYERS NOW APPEARING IN "THE PASSING 



Irene Markey 
SHOW OF 1913," AT THE WINTER GARDEN 



MUCH is written about play- 
wrights and actors ; but the 
audience the men and women 

without whose co-operation the drama could not have its being 
is neglected. It is like "papa" in the children's song, "the idle 
man who only had to pay.'' Instead of being deferred to 
as a partner, silent perhaps, but indispensable, the public is 
almost habitually treated by men of the theatre as a mere acci- 
dent, the "dog" on which the play is to be tried, a "vile body" 
for the making of experiments. The respect for the public which 
we find in the old dramatists is gone. Men who have made theii 
fortunes by pandering to the appetites of vulgar amusement- 
seekers despise the people because they can be had so cheap ; the 
matinee idol adopts his own standard as the measure of humanity 
The still, small voice of the idealist is heard by few save those 
for whom the theatre is the potential equal of the art of Praxit- 
eles, of Raphael, and of Beethoven. The tradition of a censor- 
ship of the drama, unofficial, but au- 
thoritative, based on popular good 
taste and self-respect, seems almost lost. 
It is high time, indeed, to recall the 
public to a sense of its responsibility, to 
insist anew on the artistic office of the 
audience. Here and there, up and 
down the world, are to be found audi- 
ences which exemplify what can be done 
for the art of the stage by a right- 
minded populace, and it may be that 
from these nuclei will spring a theatrical 
public as powerful to influence actors 
and dramatists for good as were the 
playgoers of classic Greece, Britons of 
"the spacious times of Qu'een Eliza- 
beth," and Frenchmen of the reign of 
Louis Quatorze. In our own day the 
zeal of an elect minority has enabled a 
group of 'enthusiasts to produce works 
like Marlowe's "Faustus" and Purcell's 
"Faerie Queen" ; the aristocracy of 
Parisian thought makes possible the work of Antoine; the ear- 




Strauss-Peyton 



FLORA PARKER-DE HAVEN 
Now appearing in "All Aboard" 



dreamers are helping to restore the 
theatre to its ancient dignity, when the 
drama was the audible voice of the 
Time Spirit, the prompt and accurate echo of popular sentiment. 
For them play-going is not merely a pastime, but what it was in 
the days of old an intellectual discipline and a feast of the imag- 
ination. 

If we inquire into the duties and privileges of the play-going 
public we find it to be a jury vested with the power of judge. 
Not only does it return a verdict on the merits of play and 
players, but its findings carry with them, of a necessity unknown 
in the procedure of other tribunals, reward or penalty. No 
subtlety of pleaders, no bias on the part of the presiding officer, 
can warp the will of the jury or secure a stay of execution. The 
advocates are the actors and they depend for their livelihood on 
the good-will of the populace. If the play fails to please, not al! 
the efforts of friends can save it. They may vaticinate in verse 

or prophesy in prose, it will avail them 
nothing. The people are Olympian in 
their absolutism, and it is only by ap- 
proaching them with awful supplica- 
tions, proffering sacrifice of such fea- 
tures of his literary progeny as may 
have offended, that the author may 
secure the rare boon of a revision of 
judgment. Demos is supreme, and what 
hope there is for the drama is to be 
found in the fact that, as his name im- 
plies, he is democratic. The theatrical 
jury is the most representative institu- 
tion in the world. Anyone who can 
pay the price of admission may enter 
the jury box. All the world and his 
wife are included in this comprehensive 
panel. Every station of life and nearly 
every phase of mental and moral de- 
velopment has its spokesman. No cen- 
sorious attorney can challenge the poor 
boy who struggles for the giddy distinc- 
tion of "centre nob" in the gallery. A quarter's worth of omnip- 



nestness of Dublin folk for the great things of drama has con- otence is his, and, if you be author or player, you were wise to 
stituted the Irish Players an international force. These splendid study him. For the veriest hoodlum is an authentic proposition 



THE THEATRE MAGAZINE 




White 



CHRISTINE NORMAN 
Who is playing the role of Ethel in "Peg o* My Heart" 



in humanity, and the gates of his consciousness open out on the 
mysteries of life and death. Childhood fancy, the fervor of youth, 
all the enthusiasms and all the prejudices, are here gathered in 
conclave. 

Alone among courts its members carry weight solely by virtue 
of their worth and personality. The price the spectator pays for 
his seat is no index of his influence. The titter of a. shopgirl in 
the cheapest part of the house may expose false sentiment as 
effectually as the sneer of Pococurante in the stalls. Foote's 
caustic comment, "A Roman chimneysweep on Mayday," was the 
end of poor Digges' Cato. A single perverse spirit will affect a 
whole parterre. On the other hand, the outspoken pleasure of a 
Sir Roger de Coverly sets in motion ever-widening circles of 
kindly interest. If we are listless or indifferent, our neighbor is 
chilled, but our manifest enjoyment warms his heart. Without 
enthusiasm artistic enjoyment would be impossible. When Mae- 
terlinck first wrote for the stage, men laughed at his ingenuous 
dialogue. If it had been an affectation, if he had not gone to 
nature for his models, his plays would have been laughed off the 



boards. But people who smile when they are 
pleased and weep when they grieve felt the 
beauty of it all, and the approval of these sim- 
ple-minded folk proved a greater force than the 
ridicule of pedantry. 

The majority of playgoers know nothing of 
the canons of dramatic construction. An appeal 
to aesthetics would only bewilder them. Their 
attitude is that of the child listening to the fairy 
tale, and they have something of the child's 
deadly logic. Men listen carelessly to what is 
said at the rise of the curtain. Suddenly some 
phrase rivets itself on the ear. It is the first 
indication of the cause which, in its capacity of 
jury, the audience is to hear. Is something rot- 
ten in the state of Denmark, the dramatist must 
make the fact appear with the least possible de- 
lay. Every word of the dialogue is directed at 
the spectator, who, though he may not realize it, 
is not merely a juror to pronounce verdict on 
the merits of the play and its performance, but a 
participant in the action. The audience is not 
an accident of the drama ; it belongs to its very 
essence. It is the instrument upon which the 
actor produces his 'effects, like Richter upon the 
multiplex organization of the orchestra. Every 
actor is familiar with the audience that is gal- 
vanic in its response; familiar, too, unhappily, 
with people before whom it is as ungrateful to 
play as it would be to act in front of a stone 
wall. A Bernhardt or a Salvini soars highest 
on the wings of genius when thrilled by the en- 
thusiasm of the multitude. The more the actor 
feels his emotion shared by the audience, the 
greater becomes his power of creation. The in- 
terested spectator is a begetter of histrionic 
talent. H'e is powerful beyond his knowledge. 
The large-eyed wonder of the child at the play 
has a potency of evocation undreamed of by the 
possessor. What so grateful to the villain of 
melodrama as the hisses of the virtuous gallery? 
According to the measure of their endowments, 
the audience put themselves in the place of the 
people in the play, feel with them, live their lives 
with them. They are the unpaid but by no 
means unrecognized collaborators with the au- 
thor. Quietly watching the passing show, the 
juror finds himself wondering what such and 
such a character will do, speculating on the dis- 
interestedness of this one, gauging the credibility 
of that. If his instinctive balancing of the prob- 
abilities of the case is belied by the event, he is disappointed. If, 
on the other hand, the characters behave as they might reasonably 
be expected to behave, he carries away with him a sense of grati- 
fication. He has conspired with Providence and been justified 
by the event. It matters little that life is shown, not as men know 
it to be, but as they dream of it in some delicious land of make- 
believe. They accept the witcheries of Rautendelein and the 
erratic motions of Peer Gynt without question. The farmyard 
chivalry of "Chantecler 1 ' presents no difficulties to the popular 
mind. The dramatist has been obedient to the laws of his minia- 
ture creation, and that is all that people ask of him; if he set 
them at defiance they would hang him in the noose of his own 
inconsequence. Once they have an inkling of what a dramatist 
is trying to do they will meet him halfway. But he must take 
them into his confidence. The novelist may spring surprises ; not 
so, however, the playwright. A well-made play is a series of 
foreshadowings, of significant hints, whereby the interest of the 
auditor is engaged and his imagination stimulated. The dram- 
atist lets fall suggestions by which the audience, its curiosity pro- 




CLARENCE HANDYSIDE 
Now appearing in "Peg o' My Heart" 



Moffett TRIX1E FRIGAN'ZA 

Appearing in "The Passing Show of 1912" 



White REGINALD MASON 

Who plays Christian Brent in "Peg o' My Heart" 



yoked by what is half revealed, is subtly prepared for what 
follows. These hints, so delicately flattering to the intelligence, 
give the spectator a luxurious sense of privilege. As Heine would 
say, he is permitted to look into the pots in which the playwright 
cooks the denouement. A stable boy may play providence to a 
princess. From his eyrie in the gallery he watches the puppets 
of the stage with a foreknowledge that bears a far-off foreknowl- 
edge to the prescience with which the Almighty contemplates His 
children. 

Like his brother of the law, the playwright adjusts the situa- 
tion so as to appeal to the frank romanticism of the audience. 
Most people prefer to see life represented as they wish it, not as 
they sadly know it. The author is well aware of this, and, in 
balancing the debit and credit of the account, he leans to the side 
of poetic justice. It is a sophism to talk about the play as "a 
slice of life." If the drama were absolutely true to life, it would 
cease to be art and lose the highest quality with which genius can 
endow it. Audiences are not content merely 
to see some isolated event ; they want to be 
shown its consequences. To gratify this 
desire days must be condensed into hours 
and the breath of a continent narrowed 
within the measure of a few yards. Hum- 
drum is barred; people only care to see life 
in its high lights. Moreover, they insist on 
being present when the balance is struck 
by which fortune is made to harmonize with 
character. They are as greedy of evidence 
on matters that interest them as Dante was 
in his questioning of Francesca. Their in- 
stinct for the scenes a faire is hawklike, and 
woe it be to the playwright who merely tells 
them of an occurrence which th'ey would 
like to see. It were better for that man 
never to have written. The point may be 
illustrated by Mr. Barrie's "What Every 
Woman Knows." John Shand owes his 
success to the cleverness of his wife. She, 
dear soul, hides her superiority under a 
mask of deference. At last John, puffed 
up by success, begins to claim what he 
deems the prerogatives of genius. Then 



nothing will satisfy the public but that he shall be taught a lesson 
and learn that the mare is the better horse. So said, so done ; 
John is humbled and all are content. But the humbling has to 
be done before our eyes. No hearsay evidence will satisfy the 
jury on this head. 

It is one of the consolations of mediocrity to revile the audience 
as tasteless, because, forsooth, fustian and rodomontade succeed 
for a season. As if the public went to the theatre burdened with 
the conscious responsibility of the professional appraiser of 
plays! People frequent the playhouse for enjoyment; their 
growth in good taste is incidental ; it is the gradual emergence of 
the finer self. A clerk goes to the theatre to be amused by musical 
comedy. The play-going habit grows upon him. To his astonish- 
ment he discovers that, far from boring him, good plays delight 
him. Amusement, actor-worship, love of the play for its own 
sake these processes represent the development of many a lover 
of the drama. In spite of the glamour of the meretricious, the 
common people do, in the long run, judge 
aright. Late or soon pretense is seen 
through and the spell broken. Where are 
the "hits" of yesterday? Scour the pur- 
lieus of Broadway or Old Drury, you will 
scarce find one of them to revisit the 
glimpses of the footlights. Their wraiths 
shiver in outer darkness. But the great 
plays are still fresh and young, and will be 
so when we are dust. How modern 
"CEdipus" seems besides "Adrienne Le- 
couvreur" ; "Hamlet" is a dramatic novelty 
compared with "Richelieu" ; "School for 
Scandal" seems modish when we think of 
"The Ironmaster." Familiarity may breed 
contempt for what is unworthy, but the 
more we know the great in art the more 
we love it. The public is not blind, but 
unthinking, and often inexperienced. The 
disdainers of Demos are journeymen actors 
and unsuccessful authors ; master crafts- 
men defer to him, not slavishly indeed, but 
with clear-eyed recognition of the fact that 
art. which leaves the multitude cold, while 
it may possess a subtle charm for the con- 

(Continutd on pagt *) 

Prominent English actor who made his appearance in 
thi country in "Rutherford & Son" 




NORMAN McKINNEL 




Humor is the spice of life. 
He who Has it not, misses the 
one thing that makes the daily 
grind endurable. Perhaps more 

than any other calling, the profession of the mummer has been 
productive of humor. The comic incidents that frequently occur 
on the stage, and yet are not part of the entertainment, would 




fill volumes. It is our purpose 
to print, from time to time, short 
and true anecdotes of the stage 
and its people. Players and 
managers are invited to contribute any amusing experiences of 
this nature they may have had. The only condition imposed 
is that the stories be true, be brief, and have humor and point. 




H O 1 



NE night when Adelaide Neilson was playing 
the potion scene in "Romeo and Juliet," one 
of the most impressive examples of this great 
artist's power, she had just reached the agonizing 
line, "What if this mixture do not work?" when a 
clear voice from the gallery promptly suggested: 
"Then take a pill !" 

When sprightly Edna Wallace Hopper got a divorce from come- 
dian De Wolf Hopper she plaintively remarked that she was now 
a grasshopper. 

De Wolf Hopper had a slight cold one night, and in a curtain 
speech he referred to it in this fashion : 

"I went to my doctor," he said, "and the doctor said I had been 
eating too much nitrogenous food, and must stop and eat farinaceous 
food. Since then I haven't been eating at all, for I don't know 
what either word means." 

Lew Dockstader tells the following prize hard-luck tale: 

"The other day on a train I made the acquaintance of a young 
man who seemed down on his luck, and after our acquaintanceship 
had developed into something approaching intimacy I ventured to 
inquire the cause of his deep-seated gloom. 

" 'Well,' he said, 'I've been up against it for fair. Put every 
cent I had in the world into an "Uncle Tom's Cabin" show. Had 

a man named S as treasurer. Smart, thrifty fellow, that S . 

Been out about two weeks and was over 400 bones to the good. 

Woke up one morning and found that S had sneaked with the 

cash. I said to myself, ''I'll catch the cuss," so I set the blood- 
hounds we had in the show on his trail.' 

"'Did they catch him?' I asked. 

"'Catch him? Sure they did. They caught up with him, and he 
put chains around their necks and started another "Uncle Tom's 
Cabin" show.' " From "Props," by William G. Rose. 



"Did you see 'Carmen' to-night?" 

"No, I didn't see any car men, but there were lots of chauffeurs 
there." 

"Drury Underwood was in a small Montana town," says William 
G. Rose, "and in a conversation with the local manager of the 
'op'ry' house asked how many pieces there were in the orchestra. 

'' 'We have three pieces,' he replied, 'a piano, stool and cover.' " 



Julia Ward Howe once told the following anecdote of Richard 
Mansfield : "I remember a surprise party Madame Rudersdorff gave 
on Richie's birthday. They were nearly all young people present 
excepting myself. It was not a surprise party in the ordinary sense, 
but you will understand when I tell you. In those /lays we were 
continually invited to meet distinguished musical artists at Madame 
Rudersdorff's home. She provided unsparingly as a hostess ; she 
was really queenly in her hospitality. Hence her invitations were 
snapped up in every quarter. On this occasion we were invited to 
meet a newly arrived prima donna I forget the name. The hostess 
and her distinguished guest received together. I remember her as 
if it were yesterday. She was youthful in appearance, uncommonly 
modest in demeanor. She wore a red-and-white silk dress with a 
prodigiously long train, and had many jewels and an abundance of 
thick, wavy, dark hair, which was the admiration of every one. 
Some of us were put to it to talk to her, for she spoke only the 
European languages. Naturally, there was a brave effort in some 
quarters, in especially high tones, for you may have noticed it that 
people who are unfamiliar with a language always shout it. The 
announcement, finally, that the great prima donna would sing pro- 
duced an expectant silence. We were all struck by 
the phenomenal range of her voice. She seemed to be 
able to sing with equal facility a soft, dark contralto 
or a silvery soprano, capping off with an octave in 
falsetto. After responding to several encores, she at 
length astounded us all by lifting off her towering coif- 




fure and announcing unaffectedly: 'I'm tired of this, 
mother. Let's cut the birthday cake.' It was Richie. 
He and his mother had conspired in the surprise 
party." From "Richard Mansfield," by Paul Wilstach. 




Henry Irving related the following amusing experi- 
ence : 'T received an unexpected blow the other day at a Highland 
station. The stationmaster, a most obliging and kindly gentleman, 
suddenly grasped my hand, exclaiming, 'Irving, man, I hope to see 
you some day on the same platform with Stephen Blackwood.' I 
confess I was taken a little by surprise, and I said, 'Well, I hope 
so, too.' Then I recovered my self-possession, and bethought me 
that Mr. Stephen Blackwood must be a popular and excellent 
preacher, and my conjecture was right, so in I plunged boldly. 'My 
friend,' said I, 'we are all on the same platform. You look after the 
trains and take care of the passengers, Mr. Stephen Blackwood 
labels them for their ultimate destination, and I do my best to 
amuse and entertain them upon their journey. So you see, my 
friend, we all do our best, and if we do strive to do our duty we 
work for the same end, and no one really has a monopoly.' " From 
"The Life of Henry Irving," by Austin Strong. 



'Pa," asked a little boy at the opera, "who is that man waving 
the stick?" 

"That is the conductor, my son." 

"Conductor!" ejaculated the little chap, "and is that fellow on the 
stage calling out the stations?" 



J. J. Rosenthal tells of an amusing experience which he had in 
Denver during a matinee performance. A stout, florid woman 
appeared at the entrance of the house leading two boys, aged seven 
and nine, and presented one ticket. 

''You will have to buy tickets for those boys," insisted Rosenthal. 

"No, I won't," she protested ; "they always go to sleep as soon 
as they get inside. Why should I pay for them if they don't see 
the show?" 

Rosenthal thought of the days when his mother took him to 
matinees, and as the argument was one that he could not get 
around, he passed them in. After the first act an usher came to the 
manager and handed him a quarter. 

"What's this for?" he asked. 

'The fat lady told me to tell you one of the kids woke up." From 
"Props," by William G. Rose. 



Critic : You say while playing in a wild Western town your 
tragedian forgot his lines. 

Actor : Yes ; but some of the cowboys present didn't, and it was 
all we could do to prevent them from hanging him. 



Sometimes there is a feeling expressed that the theatre managers 
are conscienceless, with no thought above the money paid in at the 
box-office windows. But there are honest managers and conscien- 
tious managers the world over. Beerbohm Tree knew one such in 
England. He tells of him in describing the smallest audience on 
record, consisting of one man. The play> nevertheless, went on in 
the provincial theatre where this audience was gathered. But the 
manager between the acts peeped out from behind the curtain and 
saw that the house was empty. 

"Where is the audience?" he asked anxiously to the usher. 

"He has gone out, sir," the usher answered. 

"Will he return ?" asked the manager. 

"Positively. He expressed himself as well pleased with the pro- 
duction." 

''Ah," said the manager with a look of relief, "then 
let the performance proceed." 



"What do you think the company paid for this 
opera house?" 
"Oh, I suppose they got it for a song." 




IVY TROUTMAX 
Who is now playing leading parts with the Hunter-Bradford Stock Company in Hartford. Conn 





"Mrs. Scott Siddons," says Wm. G. Rose, "was once 
playing Juliet at the London Haymarket Theatre, 
when an unrehearsed incident occurred in the last act. 
Paris was duly slain and Juliet lay stretched upon her 
bier. Just then some of the scenery caught fire, but 
the stage hands soon extinguished it. Juliet, with 
commendable presence of mind, did not move an eyelid, but the 
corpse of Paris was nervous. He raised himself up to a sitting 
posture, then got upon his feet and fled from the stage. The 
danger being removed, his courage returned, and the audience was 
afforded the pleasing spectacle of a corpse crawling along the stage 
from the wings to take up the proper position for the final curtain." 



"I think the missus has her eye on one of those Italian counts," 
said Bridget. 

"What makes you think so?" said Mary. 
"Why, I heard her say last night that she admired Verdi." 



The custom of calling an author before the curtain is an entirely 
modern one. The dramatic authors of ancient Greece would have 
considered it the height of vulgarity to appear on the stage. 
^Eschylus stayed in his bedchamber when his great "Prometheus 
Bound" was being acted. The Roman dramatists, abject copiers of 
Greek methods, without the Greek genius, followed the same custom, 
and this same rule obtained on the stages of Europe throughout the 
Renaissance and later in France and England, throughout the earlier 
French drama and that of England from Marlowe and Shake- 
speare's time, down to the middle of the eighteenth century. In- 
deed, it was not until the first performance of Voltaire's tragedy 
of "Merope," at Paris, in the year 1743, that a playwright appeared 
before the curtain to receive the plaudits of the audience. On that 
occasion the demonstrations of enthusiasm from the crowded 
theatre reached the ears of Voltaire, who, as usual, was behind the 
scenes, personally directing the conduct of the play. Voltaire, who 
was one of the shiftiest, as well as one of the most gifted of 
mortals, was at that time in very bad standing with Court and 
Church. Suddenly bethinking himself of turning this enthusiasm 
for his literary genius into enthusiasm for Voltaire, the man, he 
hastily presented himself in a box, and thence, at the behest of 
clacquers, took his place in front of the curtain. The long-con- 
tinued roar of applause that greeted this shrewd move struck heavy 
even on the deaf ears of King and Clergy. Voltaire's purpose was 
accomplished. Other, lesser French dramatic lights, speedily fol- 
lowed Voltaire's lead; and thence the custom leaped across the 
English Channel. To-day it is the conventional thing, if an author 
has received the slightest encouragement, to betake himself before 
the footlights. 



At a recent banquet David Belasco was being congratulated on 
the success of his play, "The Governor's Lady," to which he re- 
sponded : 

"Writing plays is risky business. Past triumphs don't count. 
He who has written twenty superb pieces is just as likely to be 
damned on his twenty-first piece as any tyro. For instance : 

"A playwright of my acquaintance sat in the front row on a first 
night of a new piece of his own. The play was a complete failure. 
As my friend sat, pale and sad, amid the hisses, a woman sitting 
behind him leaned forward and said : 

"'Excuse me, sir; but, knowing you to be the author of this play, 
I took the liberty, at the beginning of the performance, of snipping 
off a lock of your hair. Allow me to return it to you.' " From 
Everybody's Magazine. 



Hi 



It is related how the elder Wallack once played in a romantic 
drama in which, after taking an impassioned leave of the heroine, 
he leaped on a horse which stood just in the wings and dashed 
across the stage. Wallack objected to this nightly gallop, and it 
was therefore arranged that one of the supers, who closely re- 
sembled the actor, should make the ride. He was accordingly 
dressed exactly like Wallack and sent to the theatre to rehearse. 
He carried off his part well and the stage manager departed. But 
the super was not satisfied, and complained to a young member of 
the company, who happened to be present. "Why, 
see here," he said, "that thing is too dead easy. A 
man with a wooden leg could do it with his eyes shut. 
I used to be in a circus. Couldn't I stand up on this 
here equine and do a few stunts?" 
"Certainly," exclaimed the other; "that would be 





all right. Go ahead, no one will have anything to say." 

"You think the old party wouldn't object?" said 
the super, doubtfully. 

"Object!" returned the player. "Why, he'd be 
tickled to death. Do it." 

That evening, when the critical point was reached, 
Wallack was gratified to see his counterpart standing ready beside 
the horse. 

"Love, good night good night," cried the hero, preparing to drop 
over the edge of the balcony. 

"Stay !" cried the heroine, clinging around his neck. "You ride 
perhaps to death !" 

"Nay, sweet, say not so ; I ride to honor ! With thoughts of thee 
in my heart no harm can come ! Good night good night !" 

He tore himself from her frantic embrace and dropped out of 
sight of the audience. "Go !" he hissed to the man. 

As the horse leaped forward onto the stage the fellow gave a 
mighty vault and alighted standing on its bare back. He threw up 
one foot gracefully and danced easily on the other, and just before 
it was too late leaped into the air, turned a somersault, landed on 
the horse's back, and bounded lightly to the stage. From Harper's 
Magazine. 



Apropos of the story that the late Eugene Field once criticised a 
performance of "H'amlet" by making the bare statement that "Mr. 
Blank acted Hamlet last night and acted it until 11.30 o'clock." 
John F. Ward tells of a similar criticism that was once given of a 
performance in which he figured prominently. It was in a small 
Western city and on account of a railroad wreck the company 
arrived in town very late, consequently the play went badly. So 
bad, indeed, was it that no concientious critic could do else than 
give it a "roast." The editor of one daily paper, however, thought 
it unnecessary to go into details, so he simply wrote : "John F. 
Ward appeared at the opera house last night. The ventilation of 
the theatre was perfect and the orchestra rendered several pleasing 
airs." From "Props," by WM. G. ROSE. 



Ben Johnson tells a story concerning an English comedian who 
had long cherished the idea that he could play Hamlet. At last 
the chance came. After the performance he met a friend who was 
an influential critic and asked: 

"How was it?" 

"Do you want the truth?" 

"Yes." 

"It was awful." 

"I am afraid you're right. I'll never attempt it again." 

"But you'll have to play it once more. Your performance to-night 
must have made Shakespeare turn in his grave. You can't leave 
him lying on his stomach. Play Hamlet once more and he'll prob- 
ably turn over and be comfortable again." 



"I've heard of hard luck stories." said Jess Dandy, "but one a 
stranded actor told me last summer carries off the palm. This 
actor had been out with one of those barnstorming aggregations 
that move from town to town whenever the sheriff will let them. 
Salaries were long overdue, and finally in desperation he went to 
the manager and demanded $25. 

"'Twenty-five dollars!' cried the manager, 'why, if I had $25 I'd 
put out a No. 2 company." 



The Common Man "Why is it you actors wear heavily furred 
coats in all seasons?" 

Great Actor "The fact is, me dear fellow, my profession is the 
only one liable to frosts in all seasons !" Sydney Bulletin. 



"The most trying moment in John Drew's professional life," says 
Wm. G. Rose, "happened in a western town. When the curtain fell 
on the first act of the play there was a tremendous burst of applause. 
The enthusiasm was unexpected so early in the evening, but as the 
clapping and shouting continued, the company lined up in a gratified 
row and the curtain was raised, Mr. Drew in the center bowing his 
best. And then it was seen that the audience was not looking at 
the stage at all, but at a young couple that had just 
appeared in one of the boxes, and who also were re- 
sponding with smiles and bows to the ovation. It 
was a sickly moment. There was nothing to do but 
stand there irj a foolish row until the curtain finally 
came down again, and it seemed an eternity. 




i 



IS 



i 





rfl 



Photo Davis & Sanford IN* CLAIRE 

This favorite singing comedienne, who has been appearing in "The Honeymoon Express," w.11 be seen ,n London next season 



I 



r it r a y a 



am on it 



By JULIAN ELTINGE 



WHENEVER I appear behind the footlights, either as a 
fascinating widow or as any other kind of woman, inter- 
viewers and women who "just want to know" invariably 
ask me three questions. 

The first, "How much do you actually know about the gowns 
you wear?" 

The second, "Do you leave their selection to an expert modiste 
or design them yourself?" 

The third, the least important, "How do you gain the physical 
appearance of a woman?" 

Usually I avoid talking on these subjects, not only because it 
would take too much time to go into these angles of my occupa- 
tion with every questioner. Rather I avoid them, because if my 
interrogators could see with what pleasure I throw aside my 
"creations" at the 'end of every performance and 
return to man life they would realize that I was 
sufficiently punished for wearing such clothes 
without the additional ordeal of telling how I 
was able to wear them. You can see, then, that 
it is not with a purely unselfish motive that 
I write this. Maybe it will relieve me of the 
necessity of sending word 
to unknown callers that I. 
am "out" and straining the 
capacity of my trash basket 
with letters full of question 
marks. Allow me that 
hope, at least. 

That a knowledge of 

feminine dress plays an important part in my 
work I cannot deny. The realization of this fact 
came to me early, but not until after I had begun 
to depict girls on the stage. I found that 
scarcely knew the difference between calico and 
satin, and it was plain to me that if I was to be 
a successful "woman" I must know as much 
about my raiment as the women know about 
theirs. This was far from easy, as you may 
imagine, but I began with the very rudiments. 
Giving up the stage for a time I found a position 
in a store which dealt in cloth and dress fabrics 
of all kinds, i was not a salesman, but worked 
in the receiving department, where there was 
ample chance to learn the facts I sought. To 
show what progress I made, the end of the first 
year found me doing most of the buying for the 
firm. 

The experience gained in this way has since 
proved invaluable, for it gave me not only a 
knowledge of quality, but of values as well. And 
let me tell you, I have to consider the size of my 
bills for dress as much as any woman in mod- 
erate circumstances ! But this was only one step in my education. 
I saw that to know textures was one thing, to match them was 
another. A palette full of various colors is worthless to the 
would-be painter if he does not know how to combine them for 
the best effects. To get the right idea of such combination I took 
up the study in oils under the guidance of a capable artist. 

1 went in for draperies and their treatment largely. I sought 
the secrets of graceful and artistic draping of forms. But besides 
possessing knowledge of material values, colors and contrast, 
there remained another problem. It was how to wear my raiment 
gracefully. A woman may be fitted out in a creation by Paquin 
or Callot. and yet all of the distinctiveness of the gown may be 
lost through her lack of knowledge of proper poise. Much too 
often one sees a beautifully attired woman standing like a soldier 
on parade, with every fold perpendicularly stiff and unbroken. 
Sometimes such a woman impresses me as a clothes-horse 




White 



JULIAN ELTINGE 



In a role which tests his art 
in physical makeup 



upon whom a maid had hurled a dress from across the room. 
From my experience, it occurs to me to say that if. women 
would spend less time in blindly following the arbitrary com- 
mands of "fashion" and give more attention to finding out the 
most attractive means of draping their figures the results would 
be more satisfactory both to the wearer and the beholder. My 
advice to women on the subject of an artistic toilette is to go to 
the art galleries and study the arrangement of draperies in statues 
and painting done by the hands of the masters. They might 
also profit from the poise of the figures, for I will wager that not 
one will be found either standing like a soldier or lounging in 
an ungraceful position. 

Another step which was difficult to master, and which, to the 
artist, at least, is never mastered completely, was the contrast of 
color and tints. A woman may have a gown of 
the most costly texture, woven on the finest 
looms, and yet when worn the effect will be dis- 
appointing if there is not enough contrast to 
bring out the beauty of the materials. I would 
not attempt to lay down a set of rules on this 
point. There are no such things as rules for cor- 
rect dressing. The w'earer must depend upon 
her taste, and if that taste be bad it is well to 
leave the matter to the judgment of an efficient 
modiste and hope for the best. 

All this is in answer to the question of how 
much I know about my gowns. Now as to the 
designing: 

When in vaudeville, and in my appointed time 
playing many parts, characterizations of various 
types of women, from the haughty, bepovvdered 
and beplumed dame of Colonial days to the de- 
mure damsel of the '6o's and the self-sufficient 
girl of to-day, every detail of my costuming had 
to be worked out by me alone. Now, in dressing 
one role throughout an entire play it is no less 
necessary. I cannot go to a modiste, order "just 
a simple little gown," or "an elaborate one for 
evening wear," and leave the selection of mate- 
rial and design to her. Rather, I have to give 
personal supervision to everything I almost 
said to every stitch. 

First 1 have to bring myself to the mental at- 
titude of the "woman" whom I am to present. 
What are her needs? What are her physical 
characteristics, her coloring, her form ? Do 
Mowing lines suit her best or the straighter ups 
and downs of tailored garments ? 

Having decided those most important questions 
I outline first in my mind and then on paper, 
indicating the chosen colors, a sketch of the 
gown. Then I must select the material per- 
sonally, for that is a task that cannot be delegated to another 
with any satisfaction to myself. What I found to be the hardest 
part of the designing was the convincing of the costumer that I 
knew what I wanted better than anyone else possibly could. By 
this time that difficulty had been eliminated through my continual 
hammering at the people who make my stage clothes. 

There are so many things to consider in the art- or should I 
say science? of dressing that it would be difficult to enumerate 
them all. But take the hair, for instance. Some women imagine 
that because they have red hair they should wear gowns of some 
shade of red. This is a mistake. Red hair is so rare and so 
beautiful it should be accentuated by a robe of turquoise or purple 
or green. Then there are the eyes to consider, and the com- 
plexion. Parisiennes have a trick of inserting a dash of black 
velvet somewhere to bring out and emphasize the pink and white 
of the cheeks, arms and neck. 




White 



CHARLOTTE WALKER 
This popular actress will be seen again next season in "The Trail of the Lonesome Pine" 



THE THEATRE MAGAZINE 



I know that the greatest difficulty in my impersonation of 
women is in the physical make-up; to disguise myself in fine 
clothing is comparatively an easy matter. May I be pardoned for 
a touch of the personal ? 1 am a man around the six-foot mark. 
and of what you might call husky" build. My hands and feet 
are not at all petite; but when I am a "woman" they must at least 
appear so. Also, I must have the fresh complexion of a girl or 
a well-preserved woman in all my roles. To change the charac- 
teristics of a man's face to those required by my parts is no small 



The first rule is never to allow the breadth across the back of 
the hands to be seen, but to hold the hands so that the narrowest 
portion, for instance, the thumb and forefinger or little finger, 
will show. This aids greatly in giving the impression that the 
hands are long and slender, although the exact opposite may be 
the case. 

There are artificial aids, too, which I employ in reducing my 
hands from man's to woman's size. The hands are powdered 
verv white, and then the fingers from the second knuckle to the 




Copyright Rogers. Dallas FIRST ANNUAL SEASON OK GRAND OPERA AT DALLAS. TKXAS , 

Five thousand music-loving Texans were present at the performance by the Philadelphia-Chicago Opera Company of "Lucia di Lammermoor." This photo was taken 
immediately after the singing of the famous sextette by Madame Tetrazzini. The mad scene brought the immense crowd to its feet with cheering and handkerchief 

waving until an encore was given 



undertaking. It requires exactly one hour and a half before 
every performance to do it. 

I begin it seems crude to say it I begin by shaving. After 
that there are a number of grease paints of varying shades of 
flesh color to put on, powders of different texture and color, 
rouge on my lips. My eyes must be "built out" to simulate the 
almond-shaped eyes of a girl. The lids I touch with blue grease 
paint, so accentuating the white of my eyes. The lashes I 
lengthen with black. It sounds fairly simple in the telling, but 
a glimpse of my dressing table with a startling array of paint 
sticks, powder puffs and jars of powder might disillusion you. 

After my face has been made up I attend to my shoulders, 
neck, arms and hands. All but the hands are first treated with 
a white liquid of my own preparation, which is rubbed in as a 
foundation. Powder is then dusted over it, and the result is the 
brilliant white for which I strive. One other thing on the stage 
I usually wear a bracelet on each arm to shorten the length of 
the arms. 1 can recommend the use of bracelets worn halfway 
up the forearm to any girl with thin arms, as nothing will give 
them such an added appearance of plumpness. 

The hands are of the greatest importance in my impersonation. 
for they must be made to look quite feminine. While on the stage 
I think of them constantly, quite as much as I do of the car- 
riage of my head, for instance. Of course, my object is to make 
them look small. The size of the hands can apparently be de- 
creased by the way in which they are held, and any woman with 
a little practice can perfect herself in this graceful treatment. 



tip are rouged very red. This gives the effect of tapering fingers, 
no matter how blunt and square they may actually be, and when 
the nails are polished the result is very good. You will see many 
women in Paris with their finger tips almost blood red. That is 
overdoing it, of course, but a little rouge used on the fingers will 
give a most attractive effect, as any woman will see who will try 
it. I also add a couple of lines in blue pencilling along the back 
of the hands to add to the slenderness. 

If my hands must look small on the stage, my feet must appear 
no less so. 1 wish such were not the case. You see. my every- 
day shoe is a seven, while my costume footwear is size four and 
one-half. Part of the penalty for my success lies in the pinch 
of these shoes. I always wear satin slippers on the stage, and 
I advise them for every woman who wants her foot to look 
small and dainty. The high light on the satin seems to make the 
slipper look smaller than it really is. Of course, a short vamp 
and high heel add to the illusion. 

The hair is perhaps the next question of interest to women. 
I am constantly on the lookout for unusual wigs, hair of an odd 
shade which will make my "girl" especially stunning. I have 
the wigs dressed at intervals by an expert hairdresser. But 
every day when I put them on 1 adjust the front hair to give a 
softness around the face and also at the back of the neck, where 
it is so important to have the hair soft and fluffy. 

I think that as a general thing women do not give proper at- 
tention to their hair. They do not dress it to suit their individual 
faces and temperaments a violation (Continued on page i.r) 



JUDITH G A U T I E R, 
who wrote "The Daugh- 
ter of Heaven" with 
Pierre Loti, never considered for a moment the possibility of her 
being present at the production of her play in New York. She 
frankly tells why: "I never travel I loathe it. It fills me with 
terror. When I go only so far as Dinard I make my will and 
leave my house in order, because I am invariably obsessed with 
the impression I never will return to Paris alive. Richard Wag- 
ner was the only influence that has broken my rule in the slightest. 
1 did go to Tribschen to see him. 
and it was worth while as I had a 
great admiration for him that is 
why I wrote 'Richard Wagner at 
Home.' " 

"You believe then in inspiration 
New York is supposed to have an 
abundance of it," I suggested. 

"I don't believe in anything that 
means work," she replied. "Writ- 
ing is hard labor when I have to 
write I feel as if I were carrying 
out my own death sentence." 

"How did you happen to be a 
writer of books, plays, songs and 
an associate on intimate terms with 
the working brains of literary 
Europe ?" 

"I began young I want to see 
what satisfaction and emotion came 
to my father in his study," 

"Yet you are a sculptor, a 
painter, a musician, a composer," I 
protested. 

"I admit all you say, but I do 
those things so I won't have to 
work. I mean by work, writing. 
Modelling, painting, putting words 
to music, playing on the piano are 
my recreation, my mental and 
physical dissipations ; they are per- 
sonal, too, and only a matter of in- 
terest or amusement to my friends 
and myself." 

"Weren't you something of an astronomer once ?" I asked. 

"Something less than one. I was fascinated, when very young, 
by the glory of the sun, moon and stars, their mysterious exist- 
ences and relationships, and thought it would be wonderful to 
form an intimate acquaintance with them, but in such a little 
while my enthusiasm waned and vanished as I found that as- 
tronomy as scientists viewed it was but mathematics, mere mathe- 
matics." 

"And mathematics are ." 

"A crime against the soul. This I realized when I was six 
years old and never outgrew the conviction. My tutor at that 
time gave me an endless row of figures to add one morning; the 
task was overwhelming, so I went out into the vegetable garden, 
dug up a turnip, and with a knife carved it into a lotus blossom, 
or what I thought resembled one. 

"When my father asked to see the result of my morning oc- 
cupation," she continued. "I showed him the turnip. 

" 'It is very beautiful,' I said." 

The "father" Mme. Gautier referred to is easily recognized as 
the famous poet and romancist, Theophile Gautier. 

In those days as now Mme. Gautier was always spoken of as 
"La Belle Judith." 

"Carving turnips, however, is a long way from the 'Daughter 
of Heaven,' " I ventured. 

"You are mistaken it is surprisingly short. On that same day 
a little Chinese boy came to our door, an orphan who asked my 
father for any sort of employment. The lotus turnip was on his 
desk as my father spoke to the boy. I sat by the window. My 



A Chat with Jmdith Gauitier 



MME. JUDITH GAUTIER 

Daughter of Theophile Gautier and co-author, with Pierre Loti, of 
"The Daughter of Heaven" 



father looked about him 
hopelessly, and I never knew' 
whether he relished the inter- 
ruption of his work or the strangeness of the situation, but he 
turned to me and said : 

' 'Here, Judith, take this lad and see what you can do with him.' 

"It was a great moment for me, something new, all my own to 

work on; something that wasn't in a book and didn't have to be 

added, subtracted, multiplied or divided. I had an exalted idea, 

t would solve the power that lay in the silent eyes and brains of 

the youth. I would know his spirit 
and then, I concluded, I would 
know all, more than the astron- 
omers ever could fathom. 1 
learned the Chinese language, tak- 
ing my first lesson on that after- 
noon. I became infatuated with 
the psychology of the Orient and 
was ever searching for revelation-. 
From that day my absorption of 
the religion and poetry of the 
Chinese race has constantly in- 
creased up to the present moment. 
Its transcendent beauty and com- 
pelling charm never leave me; its 
history and the ages-old story of its 
ambitions, its richness of thought, 
its idealism are nearer to me than 
anything else in life. The young 
men of China to-day, as well as the 
old, come to Paris, the dreamers, 
the doers, the poets, statesmen, 
artists of all kinds visit me. I 
know the psychology of China, 
while Pierre Loti knows its geog- 
raphy, its customs, its commerce 
and its material values and 
achievements. 

"A Chinese sketch of mine was 
running in vaudeville here and 
many were going to see it, Mme. 
Sarah Rernhardt among them. 
Sarah at once got the idea she 
must have a Chinese drama 
in which she could play the part of an Empress, so she 
went to see Pierre Loti and asked him if he could provide her 
with one. He came to me with Sarah's hope and we evolved 
'The Daughter of Heaven' for her. When it was finished, 
Sarah was not at the time desirous of putting it on. especially as 
it would have taken at least $40,000 to produce it. A little later 
Mr. George Tyler heard of the play, read it and decided he must 
have it. We rebuilt parts of it under Mr. Tyler's direction and 
now your big theatre will see 'The Daughter of Heaven' in a 
magnificent way, much grander than we ever dreamed of and 
much better than it ever could be done in Europe." 

"How could you keep from going to China?" I questioned. 
"I could not know the Chinese better nor love them more than 
I do now. I am surrounded here by their music, their litera- 
ture and religion and I am in touch continuously both personally 
and by correspondence with the finest of their people." 

This conversation with Mme. Gautier took place in her Paris 
apartment in the Rue Washington. The flat is made up of little 
rooms, decorated and furnished with Chinese prints, draperies, 
ivory gods, tables, vases, chairs. There was nothing foreign to 
the atmosphere of the Orient save several bronze groups, de- 
signed and executed by Mme. Gautier, a grand piano which 
apologized for its presence by a surface display of Chinese music. 
Mme. Gautier wore a white satin morning dress which came 
to its Chinese environment from the Rue de la Paix. and her 
only ornament was a jade brooch. The jade ever has been a 
source of sublime delight to her and it was back in 1867 she 
wrote her "Book of Jade," many of the poems in which have 



war M 




6o 



THE THEATRE MAGAZINE 




Unity 



STAFFORD PEMBERTON 



White 



Classic dancer seen with Gertrude Hoffmann 



KVA FALLON 
Who plays Kathi in "The Purple Road" 



Bangs 



LE ROY CLEMENS 
Seen lately in "A Man's Friends" 



been set to music by the author and sung recently by Mine. 
Maeterlinck. 

"Oh, yes, if I lived in China I could not be any nearer to its 
people," she proceeded. "I want to show you an exquisite greet- 
ing that reached me to-day from one of the first poets in China. 
I will translate into French for you and copy it it is beautiful 
indeed." 

Mme. Gautier did as she said she would and carefully prepared 
an accurate reproduction, or rather translation of the original. 
She deciphered the laundry marks and scratches easily, one 
might even add rapturously, with the following result : 

"Strophes 

par Lon Tsine Have 
pour Madame Judith Gautier 



. . . En Occident, tous pretendent que la Chine est sans force, 
que la civilisation a comme sombre dans la mer. . . . Dix mille 
ans d'existence ne pourraient me donner une joie egale a celle 
que j'eprove de vous savoir d'un autre avis. . . ." 

Mme. Gautier naturally is not renowned solely for her Chinese 
accomplishments and pursuits. Her salon is frequented by the 
aristocrats of birth and brains, those who admire her because 
she is the daughter of Theophile Gautier, those who find an 
endless fascination in her books, those who delight in and appre- 
ciate her keen wit, abundant humor, wholesome understanding, 
genuine sympathy, her ecstatic imagination. She is the only 
member of her sex who has been admitted to the Academy of 
Goncourt. She is also foremost in a club for women authors 
and dramatists, the playwriters of which produce monthly one 
play of a member's composition, at the said author's own ex- 
pense, which is attended by all other members who pay gen- 
erously for the privilege. With the proceeds a book is published 
which has been written by a club member who has not funds 
sufficient to provide for its publication otherwise. 

Mme. Gautier rarely goes to the theatre. Why? She is per- 
fectly willing to answer thus : 

"Because of the sickening and tiresome plots that make French 
plays, rarely built around any theme other than the breaking of 



a certain commandment. I prefer talking with my friends or 
reading, at least in so doing I am not wasting my time. I read 
all the books that are translated into French, but I never have 
felt so comfortable with any language 1 have acquired as I have 
with the Chinese. Languages interest me somewhat, but they 
demand too much concentration, and as I have told you, I am 
opposed to working. Writing became a habit before I compre- 
hended the troubles it was laying up for me, the minutes of toil." 

"How did it start and obtain such a hold on your time?" I 
asked. 

"When I was thirteen, too young to know the consequences 
or penalty of violent endeavor, about the period I think when I 
was satisfied that as an astronomer I never would be able to 
give the world anything it cared to listen to, and couldn't even 
amuse myself in the process, I developed a certainty that the 
story of the creation of the world was all wrong, that it could 
not have been accomplished in six days. It kept me awake night 
after night and I felt a personal responsibility toward humanity, 
which tortured me until I finally had to give expression, in the 
hope of relieving mankind of the illusion. I wrote down my 
conclusions and showed them first to my father, then to his 
friends, thinking that when they were enlightened the informa- 
tion would spread until the whole world should know it had 
been imposed upon. Through a friend of my father's the article 
was published. Great religious excitement ensued. One of the 
best known of the clergy announced that on the next Sunday he 
would preach against the author of the blasphemous assertion, 
before the morning sermon. He was restrained from doing so 
only after he had been told that his antagonist in the argument 
was merely a thirteen-year-old girl. 

"One of my pleasantest memories," she went on after two 
pauses or so, "is centred on an article I wrote, oh, very long 
ago, on the works of Edgar Allan Poe, which was published in 
the official organ of the Empire. Beaudelaire, who translated 
Poe's works into French, was charmed with it and sent me a 
delightful letter, which is one of my choicest possessions." 

There is nothing in Mme. Gautier indicative of the feminine 
unrest or awakening which is manifesting itself all over the 
world, China included. A suffragist? (Continued on page >) 






mm 

.\\\ 







INTERIOR OF THE LITTLE THEATRE 



ittle Theatre 



THE LITTLE THEATRE of Philadelphia is an evolution. 
The latest addition to the first-class places of amusement 
in the Quaker City is the visible sign of a restless spirit 
that since childhood impelled Beulah E. Jay to devote herself to 
mimetic art. 

Mrs. Jay was born in Boston, and for some time studied for 
a grand opera career in the New England Conservatory of 
Music. Later she went from Boston to New York to study 
acting in dramatic schools. It was her secret ambition even in 
those early days to be the owner and manager of a theatre. With 
a firm belief in her destiny, she played in various professional 
companies and then married. Her husband, Edward G. Jay, 
Jr., a mechanical engineer, decided that matrimony should not 
swerve a wife from her ideals, and before long Mrs. Jay started 
a dramatic school in Philadelphia. The necessity arose for 
suitable quarters for the pupils, and the thought was conceived 
of a building with a small theatre. The acquaintance of F. H. 
Shelton. a retired Philadelphian, brought a new idea, and The 
Little Theatre, destined to be a serious professional undertaking, 
was evolved. 

Mr. Shelton insisted that he should be permitted to share the 
responsibilities of the new playhouse. In association with the 
Plays and Players, an 
amateur theatrical 
body of Philadelphia, 
he had been doing 
much to foster the bet- 
ter things of the stage 
and in a dwelling ad- 
joining his own resi- 
dence he had estab- 
lished a miniature 
playhouse known as 
the Theatre Helene 
solely for the use of 
his friends. The 
Theatre Helene had a 
seating capacity of 
sixty and was built to 
provide a place for the 
presentation of plays 
for the delectation of 
Mr. Shelton's daughter, 
Helene. 

The Little Theatre 
is perhaps unique in 
that it has no subven- 




AUD1TORIUM SEEN FROM THE STAGE 



tion. There is no guaranty list, no group of subscribers, no 
exclusive clientele. The desire is to appeal to the entire theatre- 
going public, but with worthy plays, as entertaining as possible, 
not profound necessarily, but of such calibre that there will be 
mental stimulation and an appeal to the sense of the artistic. 
Every detail in the construction had the most careful scrutiny 
of the three originators of the project. The theatre occupies a 
plot of ground in a side street of the fashionable section. Yet 
the new playhouse is not inaccessible. The building is attractive 
and impressive in spite of surroundings. There are seats for 328 
persons, with eighty of these reserved places in the balcony and 
two boxes at the proscenium arch. 

The planning of the building was undertaken by Amos Barnes, 
who designed the Forest Theatre, Philadelphia's finest playhouse. 
All the decorations were planned and selected by Mrs. Jay, and 
she furthermore installed in the Lounge in the basement, where 
refreshments are served free, a gallery of etchings relating to 
players and theatricals generally. The result has been the crea- 
tion of a place of amusement that has won the admiration of 
every visitor. The stage has the most modern equipment in 
every way and the engineering ability of Mr. Shelton, as well as 
of Mr. Jay, made possible the introduction of some modern 

appliances not to be 
found on many stages. 
The management se- 
lected as the opening 
attraction a comedy of 
anonymous authorship. 
M u c h mystery sur- 
rounds the piece, en- 
titled "The Adventures 
of Chlora." The play 
was sent to the theatre 
with the stipulation 
that the name of the 
author should not be 
known. The audience 
at the first perform- 
ance on the night of 
March 3d, when the 
theatre opened, con- 
firmed the judgment 
of the management by 
liberal applause. 
Oza W a 1 d r o p , who 
made a success in 
"Speed," was a charm- 

(CotititiHcd on page ni) 



Stage Illusions in Levifcattioini 




~\ 



Fig. 1. Anti-gravity suspension of a liv- 
ing woman. Levitation trick originated by 
Indian jugglers and modernized by 
twentieth century magicians 



Indian jugglers 
plied their trade, down to 

the present time, the raising of animate or inanimate bodies and 
their suspension in mid-air without visible means of support, has 
always excited the greatest curiosity and amazement. 

Levitation or anti-gravity tricks of this nature performed upon 
animate or living bodies require the most elaborate settings of 
any stage illusions, the most expensive and ingenious equipment, 

and the most skilful presenta- 
tion, in order to produce the 
desired effect upon the audi- 
ence. 

One of the oldest levitation 
tricks was that in which a 
young lady was made to repose 
in mid-air. Originally per- 
formed by Indian jugglers, 
staged by the late Robert Hou- 
din, and modernized by twen- 
tieth century magicians, it con- 
tinues to arouse almost the 
same interest as when first 
produced. 

The effect upon an audience 
is as follows: A young lady is 
brought forward and asked to inhale a peculiar kind of anaesthetic 
contained in a bottle. In the meanwhile, a bench about five feet 
in length, two feet in width, and standing about six inches above 
the floor, is brought in and shown to be entirely independent of 
the floor or of any part of the stage. A small stool is placed upcn 
the bench and the young lady mounts the stool and extends her 
arms. Under each arm is placed a stout pole which reaches to 
the bench. The performer makes pretended mesmeric passes 
over her, and in a few minutes her head drops, her eyes close, 
and she apparently succumbs to a mesmeric sleep. The stool is 
then taken away and she remains supported by the two poles. 

The operator now makes more passes over her and then re- 
moves the pole from under her left arm, gently mesmerizing the 
arm down to the side. The girl now hangs motionless with no 
other support than the single upright pole under her right arm. 
Bending her right arm so as to support her head, the performer 
next lifts her gently so that her body forms an angle of about 
45 degrees with the pole. She is left in this position for a minute 
or two and then raised to a horizontal position as shown in Fig. i. 
Under the influence of the anaesthetic and the mesmeric passes, 
the body has apparently lost its weight and reclines horizontally 
in mid-air, with no other support than that afforded by the up- 
right pole under her right arm. 

The key to the mystery, of course, lies in the pole, which is 1 
made either of iron throughout, or of wood with a strong iron 
core. Its lower end fits into a socket in the bench and its upper 
end is hollowed out for about an inch in depth to receive the 
apparatus shown in Fig. 2. 

Referring to Fig. 2, a is an iron girdle which passes nearly 
around the girl's waist and is strapped on by the leather 
band b. Fastened to the girdle is the 
iron rod c which extends from the arm- 
pit to the knee of the girl. The loweri 
part of the rod is strapped to her right 
leg by the leather band and the joint e at 
her hip. working backwards, enables her 
to bend her thigh so as to walk naturally. 
The iron strip /, fastened at one end to 
a, passes between her legs and the other 
end is strapped to the front of the girdle. 
The strap g passes over her left shoulder 
to prevent the apparatus from slipping 
downwards. 

A short flat piece of iron, h, is pivoted 
to the upper end of c so as to work freely 



BY W. H. RADCL1FFE 



m 




'-' f'rt'l ;in-<l pole and llanio- 
in 11. c levitation trick shown in 
Fig. 1 



d,' 



o 



Fig. 3. Plan and elevation 
one of the more recent 



upon it; this part comes 
directly below the right 
armpit. The right end of 
h is welded into a semi- 
circular ratchet with two notches, and into these a check. /. run- 
ning along the rod c, is pressed by the spring /. If the rod c be 
moved outward and upward with respect to h, the spring / will 
force the check i first into the lower notch so as to hold the roJ 
in a slanting position. Moving the rod c still further upward, 
the check i will finally be forced into the upper notch so as to 
hold the rod horizontally, or in line with h. By pressing down 
the hook k, however, the check i is withdrawn from the notch 
and the rod c is free to return to its downward position. 

At the left end of the iron piece h is a projecting plug /, which 
fits into the hollowed out end of the pole m, placed under the 
right arm of the girl. As all the 
apparatus shown in Fig. 2, ex- 
cept the pole, is worn by the 
young lady underneath her outer 
garments, there must be an 
opening in the underpart of her 
right sleeve for the passage of 
the plug /. 

The trick is operated as fol- 
lows : When the young lady 
mounts the stool and extends 
her arms the performer, in ad- 
justing the poles beneath them 
places the lower end of the pre- 
pared pole into the socket in the 
bench and guides the plug / into 
the hollowed-out end at the top. 
When the stool and the unpre- 
pared pole are removed, the girl 
appears to be resting upon the 
top of the remaining pole but, in reality, is comfortably seated 
in her iron cage which is carefully padded so as to give her no 
discomfort. 

Her left arm and leg. being free, may be placed in any position 
the performer chooses. When he lifts her into a slanting posture 
the check i slips into the first notch of the ratchet as previously 
explained and holds her in this position. After a short interval 
he lifts her into a horizontal position, and the check slips into the 
second notch of the ratchet, holding her apparently asleep in an 
invisible aerial couch. 

After allowing her body to remain in this position for a few 
moments the performer, continuing his mesmeric passes with 
one hand, places the other hand under her and draws down the 
hook k, which releases the check and allows the body to descend 
to an upright position. The performer guides the body down- 
ward so that it drops gradually until the feet rest upon the stool 
which has again been placed upon the bench to receive them. 

The second rod is then placed under her left arm. and after 
the performer apparently demesmerizes her by making passe* 
over her body in the reverse direction from before, she gradually 
assumes that bewildered and half-scared expression of one newly 
< Ji awakened from a trance. Raising on her feet so as to dis- 
engage the plug from the hollowed-out 
end of the right-hand rod. she steps 
down from the stool, smiles, and makes 
her final bow to the audience. 

The writer witnessed an excellent 
modification of this trick last summer in 
which the two upright rods were re- 
placed by an ordinary broom. This was 
used, sweeping and upwards, as a right- 
arm support for the girl who, after being 
raised as previously described, peace- 
fully reclined in a horizontal position 
upon the ends of the splints. Extend- 
ing through the handle of the broom and 
up to within an inch of the top of the 



77Z. 



of the coffin-like couch used in 
stage illusions in levitation 




Illl 

White 



JULIA 



MARLOWE AS KATIIF.RINE IN "THE TAMING OK THE 



THE THEATRE MAGAZINE 



r 

. 




-^-T^^^r^r^ 


l 3 


1. 



splints, was the iron rod, hollowed out at the 
end to receive the projecting plug of the 
harness strapped around the girl's body. 

Delving still further into the realms of 
levitation, the reader will find in the illusion 
about to be described an exceptionally in- 
genious arrangement of apparatus that was 
successfuly exhibited a few years ago 
throughout this country and Europe. 

As in the previous illusion, a young 
woman is introduced to the audience and 
apparently mesmerized by the performer. 
In the meanwhile a coffin-like couch with 
hinged sides is placed on the centre of the 
stage, the sides opened, and the young 
woman, now apparently in a trance, laid 
upon it. 

The sides of the couch are again closed, 
and the performer, standing behind, makes 
passes with his hands over the girl's body, 
whereupon it slowly rises before him, main- 
taining a horizontal position at full length. 
When four or five feet above the floor, the 
upward movement of the body ceases and 
the young woman apparently rests unsupported in the air, about 
on a level with the performer's shoulders. 

To assure the audience there is no means of support, the per- 
former moves a large wooden hoop above and below the motion- 
less body of the young woman and then draws it entirely over 
her body lengthwise, repeating the operation several times. He 
then rolls the hoop to the audience for examination. 




Fig. 4. In many stage illusions in levita- 
tion the elevating apparatus employed is 
constructed along the lines shown here 




. A hoop passed over a supported body in the order indicated by the 
numbers gives an impression that the body is floating free in mid-air 

Now, reversing his mesmeric passes over the body, the per- 
former apparently causes it to descend until the young woman 
again rests upon the couch. He then apparently breaks the spell 
and, assisting the subject to her feet, presents her to the audience. 

Looking down upon the couch and apparatus required for this 
illusion, one sees as at A in Fig. 3, the couch at o, and a separate 
inner rest m, to which is securely fastened underneath an iron 
rod d. This rod extends back from the couch in a horizontal 
direction and is curved in order to encircle half of the performer's 
body as he stands directly behind the couch. Into the end of this 
curved horizontal rod d fits the vertical rod /;, shown in elevation 
in Fig. 4, which runs up through the stage floor j. The lower 
end of the vertical rod is grooved to engage with a toothed 
wheel u', which in turn engages a larger toothed wheel u so that 
when u is turned by means of its crank handle, it moves the iron 
rod h up or down, carrying with it the inner rest m of the couch 
o. Two toothed wheels, u and w, are used instead of one, to 
make the lifting of the load easier and more uniform. 

When the couch is brought on the stage care is taken to place 
it so that the end of the curved rod d comes directly over the hole 
in the floor. After the hinged sides of the couch are let down, 
as shown at B, Fig. 3, the rod h is raised slightly from beneath 
the stage to fit into the end of d,, and the apparatus is then ready 
for operation. 

The performer carefully places himself so that his feet occupy 
the dotted positions shown at the top of A in Fig. 3. This allows 
the rod h to come up directly behind him and, together with the 
curved part d, to pass between his body and his outer coat, which 



should be a long, loose-fitting frock. The 
young woman's body, as it is raised from 
the couch, being always in the same plane 
with the horizontal rod, and the performer's 
body being always in front of the vertical 
rod, no part of the elevating apparatus can 
be seen by the audience. 

The hoop used by the performer to prove 
the absence of supports about the young 
woman's body is a solid wooden one, and 
the desired impression is made upon the 
audience by a clever method of handling it. 
Moving it above and below the body is of 
course a simple operation which requires no 
explanation. To show how it is passed over 
the body lengthwise, reference will be made 
to Fig. 5 where the direction of travel of the 
hoop is illustrated. Position / shows it just 
before being passed over the head of the 
subject; position 2 shows it a little later, 
passing over the feet of the subject; position 
3 shows how the hoop is reversed, that part 
of it which formerly was on the performer's 
side of the subject now being on the audience 
side; position 4 shows how the hoop may then be drawn clear of 
the subject from the opposite end to which it was passed on. 

From the audience room the illusion is practically perfect, the 
hoop apparently being drawn twice over the body from head to 
foot, making it appear free from all suspension. This, together 
with the privilege afforded the spectators of carefully examining 
the hoop, makes a lasting impression upon the audience. 

There are, however, several objections to the method employed 
of executing this trick. The performer must remain in a central 
position with respect to the rising body throughout the important 
part of the trick, rendering its presentation rather stiff and 
formal, the body can be elevated only a few feet above the floor 
on account of the limitation imposed by the height of the per- 
former, and the hoop, in order to span the distance from the 
central iron rod to the furthermost parts of the subject, must be 
inconveniently large. 

Certain modifications have therefore been introduced to make 
the illusion still more realistic and easy of presentation. The 
vertical iron rod that comes up through the floor is colored the 
same as the stage curtain in the rear. A dark brown is the color 
generally selected for the rod and for the background of the 
curtain, the latter being usually interposed with narrow vertical 
stripes of black as shown at d, Fig. 4, to divide it into vertical 
brown bars of about the same width as the rod. The object of 
this is, of course, to render the iron rod indistinguishable from 
the curtain as the rod rises above the floor, so that the performer 
need not remain in one position in front of the rod, and the height 
to which the body can be raised may be increased. 

Another method of rendering the vertical support invisible is 
to employ a three-sided polished steel rod, one side to the rear 
and the other two sides meeting directly in front. Curtains 
6 r^ -s , 




\ 

\ 
\ i 
v \ ou i 

\ N ' 

\ ' 
\ i ' 


I 


*^ W s '\ / 


/ \3 I. 




Fig. 6. An improved modification of the hoop test shown in Fig. 5, which ap- 
parently proves conclusively the absence of all supports about a levitated body 

similar to the one at the rear of the stage are hung behind the 



wings, one on each side of the 



(Continued on page vi) 






WHEN you feel a role 
with every inch of 
you, and you struggle 

and strain to work it out on the stage so that you others in the 
audience may feel it, too I tell you it's like a Golgotha !" 

It was Olive Fremstad, the dramatic soprano of the Metro- 
politan Opera House, who spoke. 

She did not exaggerate her difficulties. It is a struggle for one 
not naturally articulate, for one who belongs to the listeners of 
the world, even among the dreamers, perhaps, to force her visions 
on the public. In one way only can she do it by absolute ab- 
sorption in her role and those who have seen her art, as it were 
in the making, stand back almost awed when this woman Olive 
Fremstad no longer 
but an incarnate Isolde 
or Briinnhilde, Elsa or 
Kundry passes by. 
She is like a seer 
whose vision is out- 
spread before her. 
Such utter immolation 
of herself on her roles 
brings its reward in 
some of the most real- 
istic portrayals given 
on our operatic stage 
one might, indeed, say 
on any stage. 

As Briinnhilde in 
"Siegfried," all the 
majesty and freedom 
of the demigoddess 
characterize her awak- 
ening. She has no 
eyes for Siegfried, yet 
no thought save for 
the nature about her. 
An elemental force 
herself, she raises her- 
self on her couch; and 
her Heil dir, Sonne! is 
as though one planet 
called to another 
across the void. Life 
speaks to her ; no one 
living. Very slowly, 
the presence of Sieg- 
fried makes itself felt. 
Then, with every deli- 
cate touch the intellect 
can suggest, Mme. 
Fremstad paints for us 
the lure of the man for 
the woman newborn. 
Comes the crucial 
struggle then between 
the woman who loves 
and the goddess who 

would be free. With her eyes, her gestures, her whole body 
showing the trance of love into which she is plunged, she would 
yet repulse the hero if she could. The exquisite tenderness of 
her surrender cannot be painted. Eighteen minutes of Olive 
Fremstad's presence on the stage suffice for the illumination of 
Wagner's dream as one sees it not elsewhere the dream of the 
goddess who lost herself to find herself anew. 

Elisabeth, on the contrary, as Mme. Fremstad shows her to us, 
is scarcely a woman at all. She is a saint, a dreamer. Things of 
earth touch her lightly and go by. A duty speaks to her how 
exquisite her hastening forward to receive the aged among her 
guests ! but a wish of her own says nothing. To such a one it 
seems not strange that a man should journey hundreds of miles 
to do a penance and regain his soul's peace 



Art of Olive Fremstad 




Copyright Mishkin 



OLIVE FREMSTAD AS TOSCA 



Even when, with the 



lapse of time, her longing for 
him has taught her what love 
may be, she is yet fitter for 

heaven than for any man's love. The most exquisite flowers fade 
quickest in the clasp of a warm hand. 

Sieglinde has been described as "an ungrateful role" "the 
colorless twin sister of Siegmund" "the unimportant part of 
Hunding's faithless wife." No Mich descriptions belong to the 
role properly interpreted, and no such words could be applied to 
Olive Fremstad's characterization. Her Sieglinde pulses with 
life, sympathy, tenderness; all repressed by Hunding. Very 
lovely is the womanly gentleness with which she ministers to her 
strange guest, the dignity with which she fulfils a housewife's 

duties toward both 
the men. When Sieg- 
mund tells his story at 
table, Mme. Frem- 
stad's facial expres- 
sion is a wonderful 
study in itself. She 
has half risen from her 
seat, forgetting every- 
thing but the story- 
teller, only to be re- 
called to herself by 
Hunding's brutal in- 
sinuation, "Too late 
returned 1 to my 
home." And what 
heartbreak she later 
sings into the lines re- 
counting her miserable 
wedding, "Sorrowful I 
sat, while they drank 
all around me !" In 
the passionate love duet 
the joy of the primi- 
tive woman, finding 
her true mate, ex- 
presses itself in every 
line of her body, every 
note of her voice. 

Sieglinde has a hard 
task in the second act 
not to rant a little 
and most singers suc- 
cumb to the difficulty. 
Mme. Fremstad, how- 
ever, succeeds wonder- 
fully in expressing ut- 
ter, distracted misery 
and remorse without 
one note of exaggera- 
tion ; though her cries 
of fright on awakening 
quite alone are real 
shrieks of terror. Later, 
when weary, exhaust- 
ed and despairing she stands later among the Valkyries, lis- 
tening apathetically to Briinnhilde's excited story, she holds 
every eye. Here Mme. Fremstad shows the power, possessed by 
a few very great actors, to remain silent, motionless, without any 
apparent attempt to gain attention, yet withal concentrating the 
mind of the audience on herself. It is hard to explain this 
peculiar ability, except by the well-worn phrase, "The power of 
personality." Sarah Bernhardt has it; Henry Irving and Richard 
Mansfield had it; Mary Garden has it; and Olive Fremstad pos- 
sesses it in an unusual degree. 

Her conception of Briinnhilde in "The Gotterdammerung" is 
more as goddess than as woman, almost throughout. Over- 
shadowed from the beginning by the slowly advancing gloom of 
Fate, the figure of Briinnhilde, thus painted, stands out sharply 



66 



THE THEATRE MAGAZINE 




Phi<t< Strauss-Peyton 



Eleanor Henry 
TWO ATTRACTIVE ACTRESSES WHO ARI 



Haze] Cox 
TO BE SEEN IN BROADWAY PROIHVTIO.VS .NEXT SEASON 



against her sombre background. When she urges Siegfried 
off to new deeds of valor, or refuses with scorn \Val- 
t rant's demand for the ring, she is less woman than gocl- 
di-ss. Beaten, cowed, defeated by the disguised hero, it is 
i'<>r a short time only that she becomes weak woman. The 
realizing of Siegfried's treachery gives her back her strength. 
Though she has been conquered, it is by the one human being 
predestined to vanquish her back of him lies the inexorable 
Fate typified by the ring and that knowledge, though it mav 
tear her heart, takes from her both shame and weakness. She; 
becomes an avenging Fury. When Olive Fremstad slips from the 
group, to crouch outside listening, only to force her way back and 
swear her oath of vengeance on the spear, she is an embodied 
Fate. Her eyes are half shut, snakelike, glittering, as she later 
utters the words that seal his fate, but she is much more than 
a tricked, revengeful woman she is the final instrument of doom. 
In the death scene Aline. Fremstad rises to perhaps the greatest 
emotional height of her career. Her Brunnhilde is no longer the 
incarnate will of the gods; she is the woman possessed by a 
supreme despair that outweighs grief. "He was the truest of 
men, yet he forsook me" there lies the sting. Here are no tears. 
no shrieks for that sorrow ; the losses of death are nothing com- 
pared to the losses of life. Indeed, death means reunion and re- 
understanding. So she calmly makes ready for that meeting 
and lu-r Joynusly Greets Thee Thy Bride carries a promise with 
that lifts a load from the heart. It is in this scene, too, that 
Mme. Fremstad perhaps touches her greatest height artistically 
Her voice is so exquisitely modulated in its sadness her despair 
engrossing in its detailed portrayal, her gestures so perfect in 
their grace it seems impossible to depict with greater realism or 
w.th more charm the heartbreak and the joy of Wotan's daughter 
In Isolde, Mme. Fremstad lets us see always the queen equally 
ith the loving woman. It is true the Irish princess, as she por- 
her, is one who drinks deep of the bitter-sweet waters of 
I but she is also the woman who feels herself superior bv 
ank, to convention, as well as lifted by passion above its dictates 
ence her withering irony in the first act the superb rage pos- 
sessing her that she, Isolde, should be disdained not alone by this 
istan but by any man living. So to the final, most wonder- 
lebestod she comes with head erect and un fearing Life's 
obstacles have only existed for her to beat them down, and Death 
himself shall not stand between her and her love. Mme Frem 



stad's voice is never colored better than when she sings Isolde. 
The sensuous sweetness of it in the softer passages, the brilliancy 
and power of her high notes, would alone, even if not joined to 
her splendid acting, rank this among her greatest roles. 

Kundry, she says herself, is "terrific." it would seem im- 
possible to set an artist a much greater task than Wagner has 
presented in the part of Kundry, with its strange transformations 
from wildness to charm, from seductiveness to penitence, with 
the fearful wrestlings of that double nature. But -Mine. Frem- 
stad fails her audience in no way. Vocally and dramatically, her 
Kundry ranks with her Brunnhilde and her Isolde. She 'is a 
strange, weird figure in her first appearance. Indeed, in her 
colloquy with Klingsor she is more than weird, she is grewsome 
Her seductiveness as the tempter is perfect. But it is as the 
heartbroken penitent that she will live longest in the memory, 
and it is interesting to recollect that in the entire act she may use' 
her beautiful voice in the singing of but two words. It is a 
wonderful achievement that, under these circumstances, given up 
as she is to the sway of her emotions, she can yet succeed in 
making these same emotions utterly possess her audience. 

Nor has this remarkable artist confined herself to impersonat- 
ing the heroines of German opera. Her Carmen, her solitary 
performance of Salome, her Tosca, are all noteworthy ; and it is 
to be regretted that New York has not been given her .Mar- 
guerite. A safe prophecy might be made that it would be dis- 
tinctly worth while. 

Perhaps the most frequently heard comment on Olive Frem- 
stad's work is, how much her characterizations have grown since 
her first appearances. One hears how incomparably finer her 
Brunnhilde is in the last two years; how her Isolde reaches 
greater heights ; how even her wonderful Kundry improves with 
time. .The same comment can be made upon her singing, pure 
and simple. In every way it is finer as time goes on. In no 
derogatory sense, however, are these comments critical of Mme 
Fremstad's work. Nay, more; they are the very highest praise. 
We are too sadly familiar with the artists who create a part well 
and then never appreciably vary it from the first performance 
because, forsooth, that performance brought them success. It is 
a privilege to study the career of one who takes us with her as 
she grows, from triumph to triumph, and who yet preserves that 
beautiful modesty which is so becoming an adjunct to artistir 
greatness - GLARE P. PEELER. 



Matzene LAURETTE TAYLOR 

now anneariiiB in T. Hartley Manners' comedy, "Peg o' My Heart," at the Tort 



This popular actress is now appearing 







Notable Stage Figures of the Sixties 



Seventies 



IN the decade from 1866 to 1876, New York playgoers were 
privileged to enjoy in their prime the art of the greatest 
players of the nineteenth century. These were in most in- 
stances foreign artists, but they were seen at this period truly at 
their best, and, being supported by actors from their native lands, 
their stage presentations were in striking contrast with tire poly- 
glot performances which characterized their later American 
tours. 

The first to come hither was that sublime tragedienne, then 
recognized as the absolute leader of the Italian stage, Adelaide 
Ristori, who made her American debut in September, 1866, as 
Medea. Ristori's advent here was preceded by a campaign of 
publicity that has had no parallel 
in modern times. Jacob (irau (an 
uncle of the writer) was the im- 
presario to tempt fate by investing 
a fortune in an undertaking so un- 
precedented and unconventional 
that there were few indeed who did 
not predict disaster. Yet in the 
forty-live years that have passed 
since Ristori's debut there has been 
nothing to compare with the re- 
sults attending her first visit, both 
from artistic and financial view- 
points. 

Words really fail the writer in 

any effort to convey to the reader 

of this period with what acclaim 

the great Italian actress was re- 
ceived. My uncle had been burned 

out at the old Academy of Music 

on Fourteenth Street, where he had 

been giving grand opera with La- 
grange as the star. His contract 

with Ristori called for an advance 

outlay of nearly $50,000, something 

so far beyond all precedent then 

that he decided to place the scale 

of prices for seats to see Ristori at 

the highest figures ever charged for 

a dramatic performance. The ma- 
jority of the seats were $3.00 each, 

the lowest price of admission be- 
ing $1.00. Excitement was at such 

a pitch when the advance sale 

opened that it was necessary to call 

out the police reserves to enforce 

order. The line began to form at 

4 P.M. the day before. More than 

two hundred persons, including 

many women, remained in line all 




HOW ITALY HONORS HER PLAYERS 

Mode! which won the prize in the competition for the monument of 
Adelaide Ristori, the great Italian tragedienne, to be erected in her 
native town. C'ividale. The sculptor is Signor Antonio Maraini, of Rome 



first Ristori matinee $5.00 was paid for standing room. 
When Ristori made her entrance the audience rose to greet 
her. Her own countrymen, unable to gain entrance to the play- 
house, stampeded the sidewalks both in front and in the rear of 
the theatre, remaining there until the performance ended, and 
when the great actress made her exit from the stage door a 
number of the most enthusiastic unhitched the horses from her 
carriage and in triumph led their illustrious countrywoman to the 
Everett House, where later in the night or midnight, rather 
Ristori was serenaded and forced to make a speech. 

Ristori's repertoire consisted besides Medea, of Deborah, 
Mary Stuart. Queen Elizabeth, Marie Antoinette and Adrienne 

Lecouvreur. Of these, Marie An- 
toinette was the most potent, 
though in truth Madame did not 
face an empty seat at any perform- 
ance the season of 1866-67. Jacob 
Gran made a profit of $150,000 on 
that one season and Ristori as much 
more. As an illustration of the in- 
terest in this notable tournee it 
should be stated that the profits 
from the sale of librettos alone 
were in excess of $500 a week. 
The late Maurice Grau was a 
libretto boy in Knickerbockers, lit- 
tle dreaming that he was destined 
to be the one to direct Ristori's 
tours in later years. At least one 
of the Frohmans was among the 
coterie of libretto boys at this time. 
and nearly all became prominent in 
the business department of the 
theatre in after years. 

At the time of her American 
debut Ristori was about forty 
years of age. Her classical fea- 
tures and her majestic appearance 
caused many writers to proclaim 
her "as the handsomest middle-aged 
actress of her day." 

My uncle was bent upon follow- 
ing Ristori with some other great 
exponent of tragedy. He scoured 
the European continent from one 
end to the other. Salvini and Rossi 
had not yet achieved fame in their 
native land. Sarah Bernhardt was 
unknown. Germany possessed the 
two only worthy confreres of Ris- 
tori in Hedwig Raabe (who was 
the wife of Niemann, the tenor, 



had induced to visit these shores to stand the test of comparison 
with her Italian sister in art. 

Marie Seebach came over in 1868, making her debut in the 
very same theatre on West Fourteenth Street (this playhouse still 



1 rp, . . "V I HV <J1 J-IH-llIdllll, UIC IC11UI , 

spectacle of West Fourteenth Street lined with pro- and Marie Seebach, and it was the last named that Jacob Grau 

seat holders, eating their meals seated on camp stools 

was truly inspiring. By nine o'clock the next morning, when the 

box office opened, there were two thousand persons congregated 

about the theatre. The society women of New York were no* 

J , ~ * ~ --.. *,,,,_ .*.vu*b^.bi.i t^lVl \_\, L. 1H1U !Jl(l*lM'll^\_^LJI 

:> proud to stand , hne. A mob of five hundred messenger stands and is now a moving picture theatre) as Mary Stuart 

At noon every seat and box was Her repertoire, too, was identical with that of Ristori. save that 

Madame appeared but four times a the German actress was more versatile, scoring heavilv in such 

The ticket speculators reaped such a harvest that they did lighter works as "Losle" (Fanchon) and "Jane Eyre " 

ave to stand , front of the theatre to dispose of their seats, The best that may be said of the tournee of Seebach. looking 

rtbrok fo t C th H emSe ' VCS at the Cnd f the line < which was back, is that she scored a s HCC *s d'estimc. The profits were 

T v M about $10,000 for the entire season. The public had not yet re- 

Herald had as many as th.rty advertisements covered from the Ristori excitement, and Seebach suffered nat- 

y d.sappomted patrons, offering fabulous urally, though under the best conditions she would but have 

oseph Seagnst, then the most prom- duplicated the amazing success of the former, and yet there are 

r fo seats for th' ^'1 S T""^ ^ $S * " MaHe Seebachs ^^ " e can " h ' '^ " to what 

P a,r for seats for the first n.ght of "Medea," while for the measure of approval would (cL,,^ on f a 9 e ,,') 




COMIC opera at ten, twenty and thirty cents admission was 
a popular entertainment "on the road'' a quarter of a cen- 
tury ago. Gilbert and Sullivan, Audran, Lecocq and 
Planquette, were thus made familiar to many rural communities 
where the higher-priced lyrical organizations seldom or never 
went. "Ten-twenty-thirty" opera may come into being again. 
The successful revival in the last year or two of "The Mikado," 

'atience" and "Pinafore" a success that grows bigger as it 
joes on indicates that there is still a public for the kind of 
offering it is the custom to .call old-fashioned. Should the de- 
mand for light opera of former days become general, many com- 
panies to present it at "popular prices" are sure to be organized. 

It is only to be hoped they will contain as good actors and 
singers as belonged to those touring the country in the eighties 
and early nineties. Who were these good performers ? Well, there 
was Charles A. Iligelow for one. Up to his death a few months 
ago, he was known as a star comedian whose very personality 
(in the stage was hopelessly comic. It was impossible to associate 
such a face as his with romance. Yet, when as a youth barely 
out of his 'teens, he played the Duke in 'Tatience." In the red 
uniform of a British guardsman, with helmet and plume, he was 
as handsome a fellow as ever won the heart of a matinee maid. 
Incidentally he showed himself, even in those early days, to 
possess the true histrionic instinct, and was always a convincing 
actor. His voice, a sweet and powerful tenor, did full justice to 
Sullivan's somewhat tricky music. Other parts in which he 
always won high praise were the Mikado, Sir Joseph Porter, 
Rucco in "The Mascot," and Captain de Merrimac in "Olivette," 
a baritone rule, by the way, but in which Bigelow was at his 
best. 

Then there was Frank Deshon, as popular to-day in the two- 
dollar theatres of large cities as he used to be in the low-priced 
opera circuit in the far-off times we are recalling. The Deshon 
Opera Company, of which he was leading comedian, was known 
from coast to coast. His Koko, Lorenzo in "The Mascot," Bun- 
thorne, Dick Deadeye and Coquelicot, were all excruciatingly 
funny. But the character in which he won his highest commenda- 
tion, and which he best liked to play, was Gaspard, the miser, in 
"The Chimes of Normandy." In this tragic role he was com- 
pared favorably by the critics with J. G. Peakes, the famous 
Gaspard of that period. 

Mr. Deshon has retained his youthful figure and appearance 
( lie is one of those fortunate persons like John Drew, Dixey, and 
Lillian Russell, who will never be old), and he relates" an amusing 
story on himself in this connection. Lighting arrangements in 
theatres were not as good a score of years ago as they are now. 
So when he wanted a "spot-light" for his big scene in "The 
Chimes," when Gaspard is gloating over his bags of gold in the 
haunted chateau of Corneville, he used to give the house property 
man a couple of dollars to get a locomotive headlight and place 
it in the wings. The result was fairly satisfactory, although it 
may not have made as good a "moon effect" as is demanded 
nowadays. Stage hands all over the country got to know a head- 
light nuist he got for this scene, and that it was worth two dollars 

to "Props." 

Not long ago Deshon toured in a special season of light opera, 
with "The Chimes" as the principal feature. Although stage 
equipment is better than it used to be, he struck one theatre where 
the electric "spot" was not clear and steady, and after the per- 
formance he complained to the electrician. That worthy was a 
gruff, outspoken individual. He looked at Deshon for a moment 
in disdain. Then he broke out: 

"What are you kicking about a kid like you? Why. 1 knew 
your lather twentv-five years ago a better Gaspard than you'll 
ever be and. by heck! he was satisfied with a locomotive head- 
light thrown ),/ him for the chateau scene. He'd have dropped 




White 



Janet Beecher as Empress Josephine in "The Purple Road" 



dead with delight if he could have got an electric spot like I give 
you to-night." 

"Now," laughed Deshon, when I heard him tell it, "was that 
a knock or a boost ?" 

Marie Dressier is another star who was in ten-cent opera at 
one time. She was a capital Katisha, Lady Jane, in "Patience," 
and Buttercup, and sometimes sang in the chorus. Doing chorus 
work meant no sacrifice of professional dignity in an organization 
where everybody was striving for general excellence. Faithful 
"team work" was a notable characteristic of ten-cent opera. With 
the exception of the leading comedian and prima donna, every- 
one sang in the chorus occasionally. Even the two principal per- 
sons helped out choruses when they chanced to be in the wings. 
In a company which numbered only twenty or so, all told, it was 
necessary to use all the singing volume available. 

Anna Caldwell, who has lately (Continued on page .nV) 



SHORT 
War. 



HORTLY after the Civil 
Edmund C. Stedman 
said to me that no really 
great romance of American life 

had ever been written, or could be written for years 
^^tt^^^ to come, because life in this country was so insipid in 
^fl ^Lthut it lacked the varying class conditions and en- 

Pvironments that prevailed in European countries. 

Henry James once reaffirmed this belief in a paper 

that he wrote on the genius of Nathaniel Hawthorne. 

fc^L in which he asserted that that greatest of American 

novelists was hampered by the narrowness of his 

early New England surroundings and would have 

Margaret Anglin J 

done greater and better work had he gone to Europe 
earlier in his life. Some years later, .in discussing this subject 
with .Mark Twain, he agreed with his fellow writers, and when 
it was suggested that the Pacific Coast afforded suitable back- 
ground and sufficient stirring events, as indicated not only by 
the success of himself, but of Joaquin Miller and Bret Harte in 
this field, he replied that : "The Pacific Coast could furnish the 
scenery, story, and hero, but not the right type of heroine. It 
is impossible to produce a truly great novel with its characters 
citizens of the Pacific Coast, for one fails to find there as yet 
the surroundings and characteristics required to produce the 
finest and greatest creation of the Almighty a noble, good, and 
cultivated woman." 

In discussing this question in the fall of 1905 with Blanche 
Bates, who was enjoying great success in her then new play, 
"The Girl of the Golden West," she took issue with these gentle- 
men. Miss Bates said: "1 cannot agree with Mr. Clemens, for 
I believe that on the Pacific Coast (of which she is a native) 
can now be found just such heroines. I know of a girl who 
lived in California in the 705, in a mining camp, who was much 
such a woman as the girl in this play. These rough miners, 
horse thieves, and sheep stealers, pay the loftiest tribute to such 
women by the devotion and respect they show them, and this 
devotion is an inherited trait, for these men always know the 
difference between good and bad women. One cannot deceive 
them." 

Tn this connection she cited the case of a well-known young 
woman in San Francisco who many years ago always 
"ran with the machine" to every fire that occurred in 
the city, sat up all night with the firemen, and yet pre- 
served a spotless reputation and eventually married a 
man of high character. 

"For my part," she continued, "I believe that a girl is 
safer to-day in any mining camp in California than if 
she walks down Broadway, New York, without escort. 
I came East with the loftiest ideas as to your Eastern 
civilization, but regret to say that all too often I have 



Players I Have Kmiowim 

c^ 



By A VETERAN CRITIC 




Blanche Bates 




Robert Mantell 



morning the youngest, freshest and 
most gallant man on board the 
ship. He is the idol of the Bo- 
hemian Club, of San Francisco, and 
is really a delightful old gentleman." 

I quoted to Miss Bates a eulogy of Sir Henry 
Irving, in which the critic said that "The dean of the 
American stage in the later years of his life devoted 
himself to exploiting one second-class play and 
thereby made a fortune, whereas Mr. Irving never 
rested on his laurels but, without regard for pecuniary 
reward, went on from play to play, developing his 
genius thereby." Miss Bates expressed her warm 
approval of Mr. Irving's methods in this respect, and 
said that nothing was worse for an actor or actress than to 
devote himself or herself to a single play. She stated that, 
during the long and successful runs of the different plays in 
which she had appeared under the management of Mr. Belasco, 
she had repeatedly obtained permission to appear at matinees 
in other plays, to avoid becoming too fixed and hardened in her 
methods. The versatility which she has shown in such plays as 
"The Children of the Ghetto," "Under Two Flags," "The 
Darling of the Gods," "The Girl of the Golden West," "The 
Fighting Hope" and "Nobody's Widow," evinces the soundness 
of her theories in this respect. 

When "The Darling of the Gods" was first played in Balti- 
more, an incident occurred which, under the circumstances, was 
rather amusing, and which delighted Miss Bates when I related 
it to her. It will be recalled that the last tableau represents the 
heroine as struggling through the river that separates the Japan 
of the play from the Japanese Heaven, where her lover is sup- 
posed to have been waiting for her for a thousand years. The 
theatre was in darkness, and the figure of Yo-San was dimly 
seen passing through the waters. In the silence I heard the 
voice of a university student. "Do you think she will get 
across?" "Sure," said his comrade, "she's got a transfer." 

The success of "The Girl of the Golden West,' "The Squaw 
Man," "The Rose of the Rancho" and "The Great Divide," 
demonstrates that while the Pacific Coast may not have yet fur- 
nished the background for a great novel, it has for four dramas. 
When she visited Baltimore in "The Fighting Hope," 
in which she scored such success in a part unlike any in 
which she had ever before played, Miss Bates expressed 
the belief that while the play was useful in teaching that 
capitalists are not all as black as they are painted in 
many recent American plays, yet the public is tiring of 
these plays that preach, and are harking back to the 
romantic drama. When I told her how often I had 
wished to see her and Miss Anglin as co-stars, she said 
that she had dreamed of such a combination herself, and 



been disappointed in the type of manhood one meets in your had even talked of it with Miss Anglin, but that when "Maggie" 
so-called best circles." had suggested that they start with "East Lynne," her courage 

Miss Bates felt that, in the heroine of Mr. Belasco's play, she had failed her, as she felt herself unable to contend with Miss 



had found the medium by which she could portray the true 
character of her sex as found in many a mining camp in the 
rockies. 



Anglin in such a part as Lady Isabel. 

Margaret Anglin had greatly impressed me in "The Only 
Way" and "Miss Dane's Defense." before I met her in Balti- 



In a most vivacious manner she discussed the literary men of more in the spring of 1906 when she was producing "Zira" there. 
California, telling the story of her first interview with Joaquin Talking with her of this last play, I inquired whether she did 



Miller, whom she visited at his picturesque home at Oakland, 
California. In greeting him she exclaimed, "What a beautiful 
prospect you have here, Mr. Miller." Taking her by the hand, 



not find the confession scene very wearying. Her reply was, "If 
you only knew how little I mind it, you would not ask," saying 
that emotion could be put on and off like a glove. She ex- 



he replied, "Why don't you utter the truth that I see springing pressed a desire to play comedy roles, and said that she would 

from your lips and say, 'How - - hot it is here to-day?' " be only too happy to appear in some of Shakespeare's dramas. 

Of Mr. George Bromley of San Francisco, then eighty-five One of Miss Anglin's schoolmates, who was educated with her 

years old (he died in 1909), who had just published his delight- in Montreal, tells me that, at a performance given by the girls 

ful reminiscences, "The Near and the Long Ago," she said: at the school, at the special request of her parents no part had 

"Mr. Bromley is the most remarkable old man I ever met. Out been assigned to her. During the evening an irresistible impulse 

there we say he is a hundred and fifty, but he went with a seized her, and going upon the platform she made a recitation 

theatrical company with which I was connected, not many years that was by far the hit of the performance, 
ago on a trip to the Sandwich Islands, drank straight whiskey When in Baltimore in "The Awakening of Helena Ritchie." 

all during the voyage, and all the time he was on the islands, which she played with grace and delicacy, I asked her opinion 

which nobody else can do there, and yet bobbed up every of the discussion then going on in ' (Continued on i>ap t - r/> 



Colonel Pomponnet (frrank Doane) 
The Colonel is quite a favorite with the ladies 
DELPHINE." AS PRESENTED RECENTLY AT THE 





Miilikir. 



VERA CURTIS 
American soprano who appeared at tlie Metropolitan Opera House 



TWO years ago, about the time when moving pictures ami 
the phonograph first began to enrich players and singers 
of the speaking and operatic stage, Thomas A. Edison 
uttered the prophecy that the clay was not far off when the 
workingman would lay down his dime at the box office of the 
modern theatre of science and witness reproductions of grand 
operas, plays and spectacles for which the world's greatest sing- 
ers and players would be utilized only for the original films and 
phonographic records. 

At that time, the Wizard of Menlo Park, who had given to 
the world the two greatest inventions by which public entertain- 
ment was completely revolutionized, did not undertake to assume 
that the successful synchronization of the phonograph and the 
moving picture would be achieved by himself. As a matter of 
fact, it has already been possible to hear the entire operetta, 
"The Chimes of Normandy," acted and sung through scientific 
simulation of sound and action, but the achievement was by no 



means perfect, though he would have been indeed a pessimist 
who after witnessing the spectacle expressed skepticism as to 
the ultimate success of the effort to preserve for future genera- 
tions not only the pantomimic portrayals of the famous players, 
but to faithfully record their vocal expression. In other words, 
what had been accompl.shed two \ears a,,o indicated what Mr. 
Edison's prophecy would be fulfilled, and that besides providing 
entertainment for the masses that had heretofore been possible 
only at a prohibitive cost, the amazing spectacle of seeing de- 
ceased players act and hearing them speak their lines will be 
revealed to generations to come. 

What this really means the reader will best comprehend by 
asking himself what he would give to see Booth as "Hamlet," 
Charlotte Cushman as "Meg Merrilles," Forest as "Richard 111" 
and Edmund Kean as "Othello," at this time. 

Fancy our being able to enter the scientific playhouse of 
to-day and hear Jenny Lind, Mario, Grisi, Piccolomini, Wachtel, 
Parepa Rosa and the Adelina Patti of her prime, yet we know 
already that the generations after us will see the divine Sarah 
as "Camille," "Adrienne I.ecouvreur," "La Trsca' an 1 "Queen 
Elizabeth," they will see Rejane and Jane Hading in the plays 
that gave them their fame, and they will see Mounet-Sully as 
"CEdipus Rex." And even the members of the exclusive Con 
Frangaise have just consented to appear before the camera that 
the artistry of the house of Moliere may be perpetuated on the 
screen. 

And now that the stars of grand opera earn quite as much 
through their phonograph records as from their efforts on the 
stages of our opera houses, and when such eminent stellar 
figures of the dramatic stage as Mrs. Fiske, Viola Allen, Ethel 
Barrymore, James K. Hackett and James O'Neill have capitu- 
lated to the importunities of the camera man, comes the an- 
nouncement that not only has the demonstration of the Edison 
de\*ice, called the Kinetophone, realized all of the wizard's hopes 
and aims, but a group of amusement magnates, controlling about 
one hundred playhouses where high-grade vaudeville is the 
attraction, after witnessing the trial demonstration at the Orange 
laboratory then and there entered into an agreement by which 
these gentlemen will in future provide about one-half of their 
attractions through the Kinetophone, instead of continuing to 
mete out to the players and singers in the flesh the salaries which 
they claim are destined to land the managerial faction in ;!u 
bankruptcy courts. 

The statement is made that from this one contract alone the 
royalties accruing to the leasing company controlling the ex- 
hibition rights to the Kinetophone will amount to $500,000 a 
year, and as this group of managers is given no exclusive 
privileges, and as there are a dozen such syndicates, some idea 
may be formed of the scope and possibilities of this latest de- 
velopment in scientific public entertainment. Moreover, it will 
be recalled that at the outset the phonograph was a mere toy 
compared with what it is to-day, while the motion picture was 
used as a "chaser" in the vaudeville theatres of but a few 
years ago. 

To-day Caruso could retire from the operatic stage, safe in 
the knowledge that his income from the phonograph will be 
forthcoming as long as he lives, with every indication, that the 
total will increase rather than decrease, and Madame Luisa 
Tetrazzini must surely congratulate herself that the phonograph 
company refused her offer five years ago to sing her entire 
repertoire at their studio for $1.000 cash. Luisa was as great 
an artiste then as now, but had not yet been hailed by a metro- 
politan public as La Diva ! That same phonograph company, 
three years later, approached the diva, but they had to pay a 
bonus of $50,000 for her consent, while her annual royalties are 
said to reach between $50,000 and $60.000, which is interesting 
here merely to indicate what happens when progress becomes 
rampant. 

It was much quite the same with the moving picture. As 
recently as three years ago, not a single prominent player from 
the speaking stage was willing (Continued on facie .v.-/) 



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Stage Illusions in Levitation 

(Continued from page 64) 



platform, and the audience looking in the direction 
of the rod see the reflected side curtains and 
the curtain at the rear of the stage. The effect 
is therefore the same at it would be without a rod. 

To make possible the use of a smaller hoop 
and to permit a change in position of the vertical 
rod from the centre of the body to the head 
where it is less noticeable, the horizontal iron 
support of the inner rest of the couch is arranged 
as shown in plan in Fig. 6. Here a represents 
the inner rest of the couch, c the vertical rod at 
the head of the rest, and s the horizontal iron 
rod connecting these two. The passage of the 
hoop over the body is indicated by its positions. 
i, 2, 3, etc., these being consecutively numbered 
to indicate the direction of movement. 

It will be noted from Fig. 6 that, whereas the 
method of passing the hoop over the body is 
practically the same as in Fig. 5, the test appears 
to be a much more severe one. owing to the 
comparatively small diameter of the hoop. After 
the body has risen to a height of from four to 
five feet, the performer with the hoop in hand 
generally mounts a stool at the left of the verti- 
cal rod, c, Fig. 6, so that when the body has 
risen two or three feet further, or to a maximum 
height of say eight feet above the stage, he will 
be in a position to pass the hoop over it as 
previously explained. 



Notable Stage Figures 

(Continued from page 68) 



be meted out to such a sterling player were her 
period of activity that of the present. 

After Seebach came to Booth's Theatre the rav- 
ishingly beautiful Adelaide Neilson, whose Juliet 
took New York by storm. This English actress 
was tremendously popular, and her vogue showed 
not the least decline to the last. Her sad death, 
in Paris, while her fame was at the zenith point, 
shocked theatregoers throughout the land. 

Charles Fechter came after Neilson and his 
career was indeed a stormy one. Fechter was 
perhaps the most widely discussed actor of the 
nineteenth century. Despite his excitable and 
quarrelsome disposition he was generally hailed 
as one of the four greatest actors of his day. 
Although this Anglo-French tragedian scored 
greatest in such melodramatic plays as "The Cor- 
sican Brothers," "Ruy Bias" and "The Duke's 
Motto," he created a sensation with an uncon- 
ventional portrayal of Hamlet. 

Fechter, though past fifty, looked to be about 
twenty as the melancholy Dane, and his wearing 
of a blond wig caused much discussion. 

Fechter, like the late Sir Henry Irving, was a 
great stage director, and his procedure at all 
times was actuated by the highest ideals. He 
spent a fortune to remodel the theatre on West 
I4th Street, which he called The Lyceum. 

The late Richard Mansfield took Fechter's ca- 
reer as a model for his own, and the two were of 
a similar mould mentally and physically. R. GRAU. 



Players I Have Known 

(Continued from page 70) 



the local press as to censorship of the drama, 
some prudish people even objecting to her play. 
She maintained that a censorship such as had 
lately been exercised by the Collector of Water 
Rents (who is likewise the theatrical censor in 
Baltimore) was useless, and that, for her part, 
she believed that, after all, the press and the 
public itself were the best censors, and that 
vicious and suggestive plays, which no one dis- 
likes more than she, never win long success. 

Discussing with Miss Anglin her performance 
of "The Great Divide," I asked how she, a 
Canadian and a Roman Catholic, had so pene- 
trated into the New England conscience in her 
interpretation of the heroine. Her reply was that 
she had been up against that troublesome article 
in New Englanders all her life. She then told 
me a story of a plain old Scotchwoman who ob- 
served the Sabbath so strictly that when she 
wrote a letter on Sunday she always dated it 
Saturday or Monday. 

Like Miss Bates, Miss Anglin expressed dis- 
taste for long runs in a single play, which re- 
sulted in a state where from sheer weariness she 
forgot her lines, and had to mentally exert her- 
self to regain them. Miss Bates commented on 
this that she, too, had been through that stage. 

It is to be hoped that each of these actresses 
will soon find opportunity to play in classic roles, 
for which each of them are so well fitted. 

H. P. GODDARD. 



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vn 



Philadelphia's Little Theatre 

(Continued from page 61) 



ing heroine. She was the Chlora, seeking an 
Adrian, and there were five separate men to en- 
gage her attention. The episodes were suggested 
by those in "The Affairs of Anatol," but Chlora 
is different, for she never transgresses the moral 
code, and is only a flirtatious girl who finally 
meets the man ingenious enough and resourceful 
enough to win from her a promise to marry him. 
In the staging of the play, Mrs. Jay and her 
assistants achieved some remarkable effects. Most 
interesting of all is the final scene representing 
the Adriatic. When the curtain rises one sees a 
body of water upon which a Summer Man is 
rowing. On a rock, engaged in the task of paint- 
ing in oils, is Chlora, seated at an easel. She 
disdains the oarsman until he reminds her that 
there is such a thing as tide and that it will rise 
soon. The on-lookers are amazed as the water 
rises and as they see Chlora's feet submerged. 
She removes her slippers and throws them in the 
boat. The water continues to rise, and soon after 
she has capitulated to the extent of entering the 
boat, the rock upon which she had stood has 
disappeared and the stool upon which she had 
been sitting is covered by the flood. Still she 
is defiant, declaring that she will not marry him 
until she has placed her arms round his* neck 
and that she will never do such a foolish thing. 
With little ado, he upsets the boat and both 
tumble into the water. She is conquered but a 
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every collection intended for summer amusement. 

"Floating Down the River on the Alabam' " 
(Brown-Von Tilzer), Heidelberg Quintette; 
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(Irving Berlin), Peerless Quartet; "Come and 
Kiss Your Little Baby" (Von Tilzer), Jones- 
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veer), Helen Clark- Walter Van Brunt ; "Sunshine 
and Roses" (Van Alstyne), Edna Brown-James 
F. Harrison; "Just Say Again You Love Me" 
(Goldstein), Charles W. Harrison; "We've Got 
a Parrot in Our House" (Pretty Poll. Pretty 
Poll), Arthur Collins-Byron G. Harlan ; ''Let Her 
Go, Let Her Go" (Bayha-Jentes), Billy Murray; 
"The Curse of an Aching Heart" (Fink-Pianta- 
dosi), Will Oakland; "Down Old Harmony Way" 
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Lost You" Medley Waltz; "Nights of Gladness" 
Boston; "Maori" Tango. (Advt.) 

The incidental music written by William Furst 
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producer's hands. The composer has provided a 
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scenes and tableaux in the Broadhurst stage 
version of the poem. The lady opens at the Park 
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LOVE IN FRIENDSHIP 

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analyzing themselves, as Stendhal and Paul Bourget would have them do. They achieved this improbable 
aim of sentimentalist love in friendship. The details of their experience are told here to sincerely, so 
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about methods of literary work and musical composition. There has not been much interest in an 
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Effect of the Role Upon the Actor 



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When Mabel Meets the Actors 

(Continued from page 48) 



furnished forth with a tea-urn, cups, saucers and 
plates of small cakes the ushers conduct Mabel 
and Gertrude, with a few score of others, mostly 
girls and young women, through the boxes at one 
side of the auditorium, and by way of a little 
iron door to the stage. 

Miss Marguerite Collins (she is Mrs. Collins 
in private life, and acts as treasurer of the com- 
pany, as well as leading lady) is all smiles and 
affability, while as for Clarence Peachblow, he is 
pronounced "perfectly lovely" by all the Mabels 
and Gertrudes who meet him, and it is they who 
make up a large percentage of the totaj number 
of guests. Mabel keeps her promise to introduce 
Gertrude, and, as Mr. Peachblow deep-voiced, 
deliberate, and oh, so intellectual ! takes her hand 
and bows over it, Gertrude thrills in the belief 
that he is going to kiss it. But he doesn't. He 
straightens up in a moment, at the same time 
shooting a soulful glance at her from his fathom- 
less dark eyes that means deep, enduring love at 
first sight, if Gertrude knows the signs, and she 
is pretty sure she does. What if 

"I think the play this week is better than the 
last one," remarks Mabel. 

The spell is broken. Instantly the soulful look 
transfers itself to her, as Mr. Peachblow says 
he is so glad she likes it, and Gertrude expresses 
the opinion that it is "just grand." 

''I met you last week, you know, Mr. Peach- 
blow," says Mabel, coyly. "You haven't forgot- 
ten me, have you?" 

"Forgotten you?" Clarence Peachblow's almost 
agonized tone tells her that he is hurt, although 
obviously he has not the slighest recollection of 
ever having seen her before. "Why, what a 
question ! As if I could 

"Mr. Peachblow, this is Miss Simpkins," in- 
terrupts a soft voice behind him. 

He turns quickly, and there is the same enrap- 
tured gaze for Miss Simpkins, as he takes her 
hand and bends over it reverently, that he has 
just given to Gertrude. He is utterly oblivious 
of her and Mabel now, however, and they do not 
get another opportunity to speak to him, even 
when he presents a plate of lady-fingers to them, 
for he is smiling in another direction as he does 
it, and his offering of the plate is quite per 
functory. 

So the two girls go to Miss Marguerite Collins 
and tell her how splendid she was in the play, 
and they each take a cup of tea from her ere 
they are pushed aside by others who are storm- 
ing the table, amid a babel of chatter that drives 
the stage-hands who are waiting to "strike" the 
scene before going to supper into paroxysms of 
subdued profanity. , 

A commonplace-looking man in a sack suit 
whose shining face and wet hair, tinged with 
yellow paint at the temples, indicate that he has 
rather hurriedly "washed up" conies toward 
them smilingly. They are rather disposed to 
snub him, until they hear someone address him 
as "Mr. Jones." Then they know he is the lead- 
ing comedian, who has always been one of their 
favorites in the company. He has taken off his 
Chinese "make-up" and hastened back to the 
stage to take part in the reception. Mabel and 
Gertrude are in the midst of a laughing con- 
versation with him at once, for he has plenty to 
say for himself, and happens to be one of those 
rare comedians who are funny and entertaining 
on their own account, without the help of the 
playwright. 

Other members of the company mingle with 
the guests, and Gertrude is introduced to them 
all by Mabel, who, on the the strength of her 
having been to other receptions, assumes the 
duty of sponsor for her chum. Gertrude never 
has been on a stage before. Everybody is glad 
to see her, and she confides to Mabel in a whisper 
that she never had suspected how charmingly 
polite all actors were. 

Then, as it is her first visit to a stage, she 
steals away with Mabel to see how it looks be- 
hind the scenes, and finds herself peeping into 
dressing-rooms, gazing with awe at the flats 
stacked against the brick wall at the back, won- 
dering at the flapping "borders," with their rows 
of incandescent lamps. 

Ten minutes later Mabel and Gertrude and the 
other visitors are in the street, the stage hands 
are pulling the drawing-room to pieces, and Clar- 
ence Peachblow is saying to Collins, his partner, 
as he put on his hat and lights a cigarette in his 
dressing-room, preparatory to rushing off to his 
hotel : 

"Thank the Lord that's over. I tell you, Col- 
lins, if I don't get an hour's good rest, I'll go 
all to pieces in to-night's show. I'm limp as a 
ra g- GEORGE C. JENKS. 



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IX 



How I Portray a Woman 

^Continued from page 58) 



of the first rule for correct and becoming hair- 
dressing. Instead they follow the prevailing 
fashion no matter how unbecoming. A woman 
should select one style for her coiffure, make it 
her own and cling to it as Cleo de Merode clung 
to hers which was simple and yet lovely. I am 
certain that most women would be improved fifty 
per cent, in appearance if they were more care- 
ful with their hair. 

Maybe I am treading on dangerous ground 
when I say that in my belief a woman who has 
an unattractive shade of hair owes it to herself 
to have it touched up to a prettier color. But 
she should leave the process to an expert. To 
doctor it herself would in all probability ruin it. 
Just at present there is a fad abroad to have 
white hair an idea started in Paris when Lady 
Warwick with her silvery hair and youthful face 
rode the boulevards. The women were enchanted 
with her and many of them are now "touching" 
their hair at the temples to make it look quite 
white. 

Right in line with coloring the hair, I think 
that a woman should make her complexion look 
as well as she can. For a good complexion the 
use of cold cream at night is imperative. Put it 
on thickly, leave it a few minutes and then re- 
move it with a soft cloth. If a woman will do 
this and then use a little powder she will look 
ten years younger. And speaking of powder, I 
am a good person to recommend it for I use five 
pounds each week on my face and arms. 

Now you know how I change my physical ap- 
pearance. The actual portrayal of women is 
merely a matter of study. To build up my 
characterization, incorporating all the feminine 
tricks and traits of movement or repose which 
are most easily recognized by both sexes, re- 
quires much close observation. I did not attempt 
to copy from any one woman but observed and 
studied from many, seeking to catch only what 
was beautiful and pleasing. I had to modulate 
my natural stride, to change the abrupt manual 
gestures of a man to the softer, more graceful 
postures of a woman, and to learn the proper 
manoeuvring of skirts both short and long. 

Women are naturally my keenest critics. I 
never lose sight of their viewpoint, and as dress 
with them is a sort of second nature I try to 
mirror the fashions in a superlative degree but 
not to the extreme. This demands that I keep 
in close touch with the latest modes but the result 
is worth the trouble. Also it is worth the ex- 
pense which is close to $10,000 a year. 

The whole thing is simply a business proposi- 
tion with me. If the public is puzzled with the 
problem of my "transformation," that is all I 
ask, for curiosity is the biggest paying factor in 
an audience. But believe me, I'm mighty glad at 
the end of the day's work to be a man again. 

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A Chat with Judith Gautier 

(Continued from page 60) 



Not at all! Yet she has no quarrel with equal 
suffrage. If, however, she desired to vote, she de- 
clared it would be most vexing and annoying to 
find she was barred from franchise exercising by 
reason of sex. But voting is work, politics strenu- 
ous. So why vote when there is so much romance, 
so much human life, emotion about her. Why 
spoil the picture? 

It is the element of mystery in Mme. Gautier 
that always has attracted the attention of artists, 
the same element that led Sargent to paint her 
portrait. It was she who selected the music for 
"Daughter of Heaven," some of which she ex- 
quisitely played for me. 

And down in the street below the rue Wash- 
ington there is ever the noise and the traffic, but 
all so far removed from the vibrant magnetism 
of "La Belle Judith." THEODORE BEAN. 



Madame Nazimova was to have been a violin- 
ist ; she is a great actress ; she might have been 
a famous dressmaker. It frequently happens 
that persons who are devoting their best en- 
deavors to their chosen professions would be 
equally great in some other walk of life. One 
of the biggest surgeons in England finds his rec- 
reation in portrait painting. A great editor in 
this country is a skilful restorer of antique fur- 
niture and has a complete workshop in his 
house where he spends most of his leisure time. 
Caruso could easily get a job on a newspaper as 
a caricaturist. And so it goes. 







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of Protection 



Ancient Egyptians carved over 
their doorways and upon their 
temple walls the symbol of super- 
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the solid masonry of castle walls. 

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the ideal of the Egyptians. Franklin 
drew electricity from the clouds and 
Bell harnessed it to the telephone. 

Today the telephone is a means 
of protection more potent than the 
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out the land, so that all the people 
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The Theatrical Jury 

(Continued from page 61) 



When writing to advertisers, kindly mention THE THEATRE MAGAZINE 



noisseur, must be defective in some important 
quality. Mohere knew what he was about when 
he read his plays to his housekeeper. If they did 
not satisfy her homsey intelligence, then his art 
must have missed fire. Stagecraft is for man- 
kind in the mass, not for the coterie. Closet 
dramatists are not aware of this, and their plays 
lack human warmth. They have lived with ab- 
stractions and paint shadows. But the man of the 
theatre mingles with his kind; he takes his cue 
from the lime Spirit. He it is, and not the 
historian in the narrow sense of the word, whom 
Shakespeare calls "The abstract and brief chroni- 
cle of the times." 

He builds plays out of the ideas and emotions 
that are in ferment all around him. He does not 
condescend to the populace; but studies God's 
handiwork in the very "groundling." The collo- 
quy of the gravediggers in "Hamlet"; the pranks 
with lancelot in "The Merchant of Venice"; Dog- 
berry s "Write Me Down an Ass," are a practical 
response to the desire of the audience to "seek 
repose upon a humbler theme" after the loftier 
flights of the poet's fancy. Our dramatic Phari- 
sees call such contrasts artificial; but there are 
still people for whom the pageant of Shake- 
speare, with its changes from tragedy to fooling 
is truer to life than the machine-made uniformity 
of some of our cried-up moderns. 

The author does not realize what his play really 
is until he has felt the reaction of the audience 
In the presence of those instinctive abettors of the 
drama who sit before the curtain, what before 
was as uncertain as the negative of a photograph 
emerges into positive definition. The first public- 
representation is virtually the last rehearsal. Ac- 
tors may prophesy and managers dogmatize, but 
the truth can only be groped after till the jury is 
in its place, and the formal hearing has begun 
^gard for the public saved Pinero from ruining 
F r r ofligate." The play hinges on the mar- 
riage of Puritan and libertine. When the wife 
learns of her husband's past, she leaves him. In 
despair, he takes poison, and the wife returns to 
I him dying. That was the original ending; 
u '"? Populace refused to accept it. They held 
that Pinero had not made allowance for the mercy 
that dwells in every good woman's heart. Event- 
ually the playwright yielded and the play, intoler- 
able in its first form, found favor when it had 
been modified to suit the popular view The 
public it was that saved James Hearn from man- 
agerial damnation. The manager protested against 
what he considered the "undramatic" ending of 
Shores Acres." The darkened room, with the old 
man closing up for the night, seemed to him an 
anti-climax, and he rang down the curtain on a 
family reunion. This flat commonplace came 
near to spoiling the play. One night, however, 
fi e , arn and his fell w actors determined to end 
Shore Acres" as it had been written. The 
audience hailed the poetic ending with joy and 
the author was vindicated. 

We do not demand the pillorying of individuals 
as the Greeks did, when Aristophanes introduced 
Socrates into "The Clouds," discoursing of the ' 
immortality of the soul. But people do expect 
that the drama shall take cognizance of the move- 
ments of the day. Are we thinking of telepathy 
Augustus Thomas gives us "The Witching Hour" \ 
does the assimilation of the immigrant occupy 
Peoples minds, Israel Zangwill responds with 
i he Melting Pot." Never indeed was court with 
purview so unlimited as is the theatre. Not only 
does the unsworn jury "well and truly try" the 
mam issue, but it takes account of subordinate 
questions as well. When they are trying Claud- 
ius for the murder of the King of Denmark, the 
audience keeps a wary eye on young Hamlet, for 
rumor has it that he is not quite responsible for 
his actions. Other spectators constitute them- 
selves a committee of the Society of Psychical 
Research and take note of all that pertains to ap- 
paritions. No question so recondite or fantastical 
but some group in this most catholic of all juries 
will give it thought. 

In 'spite of its aberrations, its proneness to be 
caught by glare, its worship of the hero of the 
moment, in the long run the theatrical jury ren- 
ders substantial justice. Only plays that reflect 
some noble vision of things as they are or as the 
poet s fancy pictures them hold a permanent place 
m popular esteem. Producers grumble because 
high-class drama does not pay. In saying this, 
they are both right and wrong; good art may not 
pay immediately, but it pays long. It is the same 
with the drama as it is with poetry, painting and 
music. Only the best lives, and eventually it pays 
tenfold; but its votaries must pass through a 
probationary season of leanness and poverty. 



THE THEATRE MAGAZINE ADVERTISER. 



XI 



Meanwhile the theatrical Mammon has to say as 
to what kind of art shall occupy the boards. 
"Give the people what they want," they cry, and 
utter a falsehood; for what they mean in their 
hearts is "Give the people what we wish them to 
want." The public desire the best that art can 
give them; if it were not so, the money-makers 
of yesterday would be the money-makers of to- 
day. Playwrights who sacrifice their ideals to 
the exigencies of the box office are traitors to 
art. They sell their souls for a mess of pottage. 
Condescended to by players, despised by man- 
agers, held cheap by playwrights, can it be won- 
dered at if, at last, people have come to think 
meanly of themselves, and to doubt their posses- 
sion of any dignified artistic function? When 
they almost surrounded the stage, as in Shake- 
speare's day, or occupied seats upon the very 
boards with Moliere, they were accepted by play- 
wright and actor as veritable coadjutors. And 
coadjutors they still remain, and capable withal, 
under favorable conditions, of giving such in- 
spiration as Sophocles felt when his "Persians" 
was played by survivors of Marathon or Strat- 
ford Will spoke sublime jingoism to the destroyers 
of the Invincible Armada. What the marble of 
Carrara was to Michelangelo, what the violins of 
Cremona were to Corelli, that the audience should 
be to the dramatist. It is the duty and preroga- 
tive of the public to strengthen the hands of 
playwright and actor, to be discontented with 
what is unworthy, to demand that the play "shall 
hold the mirror up to nature." The outlook is 
only hopeless for those who have not faith, and 
everyone who has faith can help others to see the 
vision. Men still cling to the ideal and, for that 
reason, the art of the stage outlives the changes 
of fashion, purifies itself of baseness, and over- 
comes the enmity of ignorance and prejudice. 
REDFERN MASON. 

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PLAYS AND PLAYERS 

(Continued from page 39) 



choose between us.' At the point of the pistol 
Pauline is compelled to drink. 'It will be quick,' 
says the wife. But Pauline does not get the 
poison. Then the wife raises her cup. The 
scene would have lost its tenseness if she did 
more than to lisp the briefest good-bye. 'I 
hope you two will be happy very, ery happy,' 
she says, as she raises the cup, pointing the pistol 
at her husband and warning him away. He 
risks the shot and in despair at her proposed 
action dashes to her side and knocks the cup 
from her hand. 

' That's not fair,' shrieks Pauline, 'you have 
not fulfilled your part of the bargain.' 

'He wouldn't let me,' laughs the wife, 'and, 
besides, there wasn't poison in either of the cups 
I just wanted to see which one he ' 

"And the curtain falls." 



Philip Bartholomae's play, "When Dreams 
Come True," which he aptly terms "a musical 
comedy of youth," has met with an unusually 
large measure of success at the Garrick Theatre, 
Chicago, where it is likely to remain throughout 
the summer term. 

The play, says the dramatic reviewer of the 
Commercial Tribune, relates the adventures of a 
young fellow in Paris, whose father in New 
York has cut off his supplies by reason of his 
having become entangled with a dancer in one of 
the Parisian theatres. So the young fellow, hav- 
ing pawned everything available to purchase a 
ticket for home, is discovered in the steerage of 
the steamship Kaiser bound from France to New 
York. Naturally enough, he is very unhappy in 
his disagreeable surroundings, but he sees a 
beautiful young girl on one of the upper decks, 
and as the vision is but momentary he imagines 
the sweet, youthful face a mere figment of his 
imagination. Later, on shore, he encounters the 
girl herself, and falls desperately in love with 
her. Through a designing woman this girl, Beth, 
is made the instrument for smuggling a string of 
pearls into America, while the hero is trying to 
smuggle in some absinthe, now a forbidden bev- 
erage, of which his father is extremely fond, and 
by which he hopes to placate the old gentleman. 
Both are discovered upon the wharf by the Cus- 
tom House officers. As a ruse to escape, young 
Mr. Hedges tells Beth that he is about to switch 
off the lights, directing her to escape to his auto- 
mobile in the confusion and "drive home." The 
situations come thick and fast from this point to 
the finish, where Beth and Hedges are plighted. 
The principal member of the cast is Joseph Sant- 
ley, a slender and graceful young fellow, agree- 
able to the eye, who sings melodiously and dances 
with remarkable agility and ease. 



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Xll 



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The covers are of cloth, strong and durable, with the 
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GRACE LA RUE 
Who appeared recently in "The Honeymoon Express" at the Winter Garden 













XIV 



THE THEATRE MAGAZINE ADVERTISER 




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Reminiscences of an Actress 

(Continued from page 44) 



Coppee was not very influential, he could only 
encourage me, and so he did. I next went to see 
Alexandre Dumas fils. 

One of his first questions was : 

"Have you thirty thousand francs income?" 

"No, sir," I answered, "but I will try to earn 
them." 

"Ah, my child, the stage is not the place to 
make a fortune. However, play somewhere, no 
matter how small the theatre, I will go and see 
you." 

He kept me nearly an hour talking to me very 
much like a father confessor, giving me advice 
and encouragement in spite of what he had said 
before. It is singular how kind and approachable 
great people are and how disagreeable, mean and 
insulting, mediocrity can be. 

My next visit was to Sarcey, the great critic; 
a man worshipped by the profession and not 
without cause. Everybody was welcome to his 
house; every actor, according to his deserts, was 
praised or criticized. 

At his Tuesday luncheons, one met a gathering 
made up of the most varied elements. A Coun- 
cillor of State elbowed an actor, a young 
debutante threw an appealing glance at the in- 
fluential critic; a haughty actress of the Theatre 
Frangais looked disdainfully at the fascinating 
charms of a Theresa or Yyette Guilbert; men of 
letters, whose sun was rising, listeneed with the 
smile of youth to the sarcasm of old age. There 
was no formality, a plain family meal was served, 
but wit reigned supreme and took the place of 
truffles and champagne. 

One day, I was deploring the blase ways, the 
lack of enthusiasm of the young men of the day. 
"Bah !'' replied Sarcey, who had heard me, "they 
are not old enough to be young!" 

Another day, he and a journalist of the Figaro 
were criticizing an actor most unmercifully. I 
said to a young comedian next to me: "Those 
are our assassins !" "Have no fear," replied 
Sarcey, "we only kill those who are very sick." 

What food for thought an observer found in 
these literary and artistic symposiums. The love 
of glory is very much like the love of gold. 
Sarcey's guests reminded me of the famous pic- 
ture "Le Salon d'or a Bade,' where an eager 
crowd, seated at the roulette table, is anxiously 
watching the course of the little fatal ball, on 
which seems to hang their whole destiny; their 
senses are deadened, one only thought survives : 
Gold ! So were the guests at the table of Sarcey 
and the greatest were the most cringing; for a 
word of praise, they seemed willing to forfeit 
their dignity, their manhood ! 

Sarcey's face and in fact, his whole person, 
reminded one of Socrates and of Rabelais. He 
had all the good humor of these philosophers and 
not a little of their wisdom. I owe him a debt 
of gratitude which I can never hope to repay. 

I had made the acquaintance of Got, the great 
comedian of the Comedie Franchise. This 
acquaintance soon grew into friendship and every 
Sunday and sometimes during the week, several 
hours were spent with him, at his home in Passy, 
in the study of the French classics. His lessons 
were the best I have ever received. He was the 
bosom friend of Emile Augier and he hoped that 
the great author's influence would open to me the 
doors of the Comedie Franchise when I should 
be sufficiently prepared. But I had to wait six 
months, a year perhaps, and to wait is not easy 
when one's bank account is light; besides, a 
member of the famous "Maison de Moliere" told 
me that that great institution was worse than 
any royal court ; intrigue, gossip, backbiting, were 
the weapons with which each one tried to de- 
throne the other. I was not born for that sort 
of life. I can work, I cannot intrigue. I can 
fight my way legitimately and openly, but I can- 
not fight with cowards ; therefore, when Mr. 
Carvalho, manager of the Theatre du Vaudeville, 
offered me a position, I accepted it to the great 
disappointment of Got, who continued, neverthe- 
less, to coach me in the great parts of Moliere 
and the modern masters. The actress playing the 
leading part ; n "L e Roman d'un jeune homme 
pauvre" had been taken ill and I had been en- 
gaged to fill her place. 

There I was in Paris, in one of the leading 
theatres, with the expectation of some prominent 
part, that perhaps would bring me fame; what 
more could I desire? On the strength of my 
engagement, I settled myself down, furnished 
my apartment with every comfort and there I 
lived as happy as a bird in its nest. 
(To be Continued) 

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Comic Opera Old Timers 

(Continued from page 69) 



contributed several acceptable plays to the the- 
atrical gaiety of the season, was a prima donna 
in "popular price" comic opera in the eighties. 
Her Serpolette, in "The Chimes," her Bettina, in 
''The Mascot," and her Olivette, were all full of 
dash and go. Something of the verve she dis- 
played on the stage then seems to have got into 
the plays she writes now. That's one reason 
people like them. 

Mrs. Russ Whytal, well known to Broadway 
theatre-goers as a quiet, forceful actress in seri- 
ous drama, and who was leading woman for H'. 
Beerbohm Tree (Sir Herbert Tree, by grace of 
King George) a year or two ago, used to sing 
in comic opera. The strong vibrant voice which 
Mrs. Whytal finds useful to-day in expressing 
the woes and aspirations of the dramatic heroines 
she portrays, was regarded as particularly valu- 
able in holding up the chorus when, a very young 
girl, she was known as Miss Marie Knowles. On 
the scene or not, she was always required to sing 
in the ensembles, and was generally to be found 
in the wings if her part did not call her before 
the footlights singing away with a vigor that 
kept the others all up to their mark. Marie 
Knowles played parts, of course, as they all did. 
One character in which she made a pleasant im- 
pression that lingers in the memories of old 
theatre-goers to this day was Lady Angela, in 
"Patience." 

There were a number of other prominent people 
who worked hard in comic opera before they 
turned to dramatic effort. William H. Crane, 
Nat Goodwin, Maude Adams and John Mason 
are names that come easily to mind. Everybody 
knows that the late Richard Mansfield barn- 
stormed in Gilbert and Sullivan's operas before 
he gained recognition in more serious lines on the 
stage. Amy Leslie, the peppery Chicago critic, 
was, I believe, a clever singer and actress in the 
Wilbur Opera Company, in former days. 

Considering how small were the companies, the 
productions of opera by the ten-cent companies 
were often marvelous. One organization that in 
which were Bigelow, Deshon and the present 
Mrs. Russ Whytal had a repertoire of about 
eight works, and every one was given effectively. 
The list included "The Mikado," "Patience," 
"Pinafore," "Chimes of Normandy," "The Mas- 
cot," "Olivette," "Girofle-Girofla," and "Billy 
Taylor." Sometimes there was an orchestra in 
the theatre where they played, and then the com- 
pany's music director, Torriani (of the well- 
known New York musical family of that name) 
did his best to lick the local musicians into shape, 
and gave the score with as near completeness as 
he could. If there were no orchestra, he took it 
philosophically, played the entire opera on the 
piano without any help, and seemed to get along 
just as well. 

Democracy was the watchword of the organi- 
zation. It was understood that there must be no 
nonsense about stars or leading people, and that, 
except for giving the leading comedian and the 
prima donna the "star dressing rooms," no favor- 
itism would be shown in this regard. The com- 
pany "made up" in any room assigned to them, 
and the humblest chorus member might be quar- 
tered with the person who played leading parts 
whenever one of the principals was indisposed 
or had been allowed to take a rest for one per- 
formance. 

The company gave six performances a week 
two a day. What a strain it was on the voice to 
sing through two long operas in one day, and 
keep it up for forty-five weeks or so, can be 
imagined. No wonder it was found necessary to 
let some of the people skip a performance now 
and then. Talking about letting them off, it is re- 
lated that one afternoon, in Philadelphia, when 
the bill was "Patience," there had been some con- 
fusion in arranging absenteeism, and when the 
first chorus of girls came on, singing Twenty 
Love sick Maidens We, there were only three 
love-sick girls to represent the twenty there 
should have been. But this was merely an inci- 
dent of the tour, and nobody thought much 
about it. 

It has been the habit of some present day 
producers of musical stage entertainment to sniff 
patronizingly at the kind of light opera popular 
twenty years ago or more. Gilbertian wit, they 
have said, is out of date, and the melodies of 
Sullivan, Lecocq. Planquette, Audran and Offen- 
bach would not be catchy enough for to-day. 
Yet, in perhaps the most successful comic opera 
written in the last decade, the eminent composer 
responsible for the score calmly borrowed for 
one of his tunefullest numbers the theme of a 
very familiar duet by Offenbach. Conterno gave 
it to us at Manhattan Beach, summer before last. 



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THE THEATRE MAGAZINE ADVERTISER 



xv 



BERNHARDTS recent engagement in New York at the Palace The- 
atre was doubly interesting in serving to reintraduce to the Amer- 
ican public a young Greek actor of unusual appeal and commanding 
presence. 

Lou Tellegen is twenty-eight and he has already for two years been the 
leading man of the world's greatest actress. He is, therefore, a somewhat 
extraordinary young man indeed, the youngest leading man she has ever 
had. Despite his youth his work has a dignity, authority and repose that 
is impressive. In watching these artistes together there appears no great 
disparity in age or experience, but then, has there yet been discovered a 
spirit that is more youthful than that of Sarah Bernhardt? 

Tellegen's father was a Greek general and his mother a Danish dancer. 
He was born in Athens and reared in Holland. He has been associated witli 
the theatre nearly all his life, rather against his father's wishes. He has 
travelled almost all over the world and has acted in Holland, France, Eng- 
land and America. He is, in fact, a man of the world by education and 

experience. At fourteen 
he ran away from home 
and for three years lived 
a nomadic life. He knew 
what it was to be desolate 
to be without decent 
clothes to be disagree- 
ably hungry. 

One dramatic moment 
in his youthful experience 
impresses one as graphic 
and significant. He was 
sixteen barefoot; he had 
no money, no place to go 
no shelter and it began 
to rain. The quick, sud- 
den realization of all this 
was too overwhelming 
so he began to cry. He 
saw a house, but pride 
forbade from telling his 
plight. Seeing a tree he 
laid down under it and 
slept with the abandon of 
perfect youth. When he 
woke he walked to the 
next town, got work and 
in four hours was eating 
a meal that he had earned 
by the sweat of his brow. 
At that moment he says : 
"I realized what it was to 
be a man." 

Tellegen is a universal 
man; as one talks with 
him you realize that his 
biggest lessons he has 
learned from the stars 
and living out in the 
open. He loves life and 
speaks of his love for it 
with the naivete of a 
child. Bernhardt he re- 
veres. He speaks of her 
with an affectionate, ad- 
miring respect that is re- 
freshing. He says : "My 
mother brought me into 
the world, but Madame 
Sarah is my real mother. 
She has given me my 
chance and has taught me 
everything. We really 
play together : it is not 
work to us and there is 
no audience ever. It is 
those moments that we 
are on the stage that we 
live and have our real 
being. I hate the word 
actor I never want to 
act I want only to be!" 

To see Tellegen on the stage is to be convinced that this is not a mere 
pose. Each of the characters he portrays is a creation and is etched in- 
dividually with cameo-like clarity. Best of all he brings fresh thought to 
a character and often entirely disregards tradition. Oddly enough, his 
best work on the American stage has been the two extremes of classical 
and modern drama. Armand in "Camille" and Hyppolitus in "Phedre. In 
this latter role he is given, too, the opportunity to visualize a glorious 
picture of physical beauty. 

His most radical departure from tradition is revealed in his portraiture 
of Scarpia in "Tosca." Scarpia is usually presented as a burly brute, sen- 
sual, pugnacious, rather blatant and a little middle class. As a matter of 
fact, Scarpia was a patrician and Tellegen makes him so, and from this 
major note he works out his plan. He smiles a great deal and his smile is 
terrible. It is the smile of utter cruelty. There is no sun m this glancing 
light. It does not warm. It kills as it tortures Tosca. He has the gentle 
ness of absolute control of the situation, he has the mildness of the finished 
job. He is subtlety and resiliency itself. His mentality hurts so you almost 
wish he'd do something crude, obvious and humanly stupid. 

A.s Armand he is the ingenuous lover : a little gauche as a boy might be 
a little dumb and awkward as a youth hopelessly in love ever is. His first 
entrance is perfect. You realize absolutely he is coming into the presence 
of his divinitv the one who embodies his grande passion. A. R. 




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XVI 



THE THEATRE MAGAZINE ADVERTISER 



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LOVE 



F*RIEJVDSHIT 



(A Nan-teles* Sentiment) 
With a Preface in Fragment* from STENDHAL 

Translated from 1h* Fnnch by HEJVRy fEJVE 7>V BO/J 

This is the romance in letters of a man and a woman, extremely intelligent 
and accustomed to analyzing themselves, as Stendhal and Paul Bourget would 
have them do. They achieved this improbable aim of sentimentalist love in 
friendship. The details of their experience are told here so sincerely, so 
naively that it is evident the letters are published here as they were written, 
and they were not written for publication. They are full of intimate details of 
family life among great artists, of indiscretion about methods of literary work 
and musical composition. There has not been so much interest in an individual 
work since the time of Marie Bashkirsheff's confessions, which were not as 
intelligent as these. 

Franclsque Sarcey, in Le Figaro, said: 

"Here is a book which is talked of a great deal. I think it is not talked of enough, for it is one of 
the prettiest dramas of rtal life ever related to the public. Must I say that well-informed people affirm 
the fetters of the man, true or almost true, hardly arranged, were written by Guy de Maupassant? 

"I do not think it is wrong to be so indiscreet. One must admire the feminine delicacy with which 
the letters were reinforced, if one may use this expression. I like the book, and it seems to me it will 
have a place in the collection, so voluminous already, of modern ways of love." 



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Science and the Stage 

(Continued on page 72) 



to make the excursions into the film studio, yet 
a few weeks ago the writer recognized on the 
screen in one photoplay four actors and actresses 
prominent last season in Charles Frohman's pro- 
ductions, and it is an actual fact that in the 
Vitagraph Company's roster are to-day one hun- 
dred and twenty players of the first rank. At 
least six of the number have been stars, and it is 
extremely doubtful if one of the number would 
care to make a change. Yet this same Vitagraph 
Company, six years ago, had a stock company 
numbering but six persons, and this included the 
three proprietors who appeared on the screen 
regularly. The company now is capitalized at a 
million and recently distributed $25,000 to its em- 
ployees at the Yuletide. 

Assuming that progress shall be anything like 
as great with the Kinetophone as with its inven- 
tor's previous scientific devices for entertaining 
people, the problem that confronts theatrical man- 
agers and producers who cater to the public enter- 
tainment along the older lines is indeed a serious 
one. As matters stand now, the number of such 
managers and producers is the smallest it has 
been in thirty years. Like the players, the men 
who were wont to decry the vogue of the camera 
men have at last recognized the modern trend 
and are now affiliating themselves with the film 
industry at every turn. 

Daniel Frohman, who is often referred to as 
the dean of the theatrical managers, and whose 
career has been noted for lofty ideals, character- 
izing his business and artistic procedure, is now 
almost wholly committed to the production of 
photoplays, and it was he who induced Sarah 
Bernhardt, Mrs. Fiske, Ethel Barrymore, and 
others to embrace the silent drama. 

John Cort, who owns or controls more than 
two hundred playhouses west of Chicago, and 
who is gradually making his impress in the East, 
is another convert to the theatre of science. Mr. 
Cort is the head of a corporation, capitalized at 
$2,000,000, which controls the exhibition rights 
for the Kitsee Talking and Singing Pictures, and 
this invention, like the Edison Kinetophone, is 
something more than a mere synchronization of 
the moving-picture camera and the phonograph. 
In the Edison productions the vocal expression 
appears to emanate from the lips of the perform- 
ers, and this illusion is accomplished through 
electro-magnetic means. The horn of the phono- 
graph is invisible, being placed back of the 
screen, while the projecting device is placed in a 
booth in the back of the auditorium. 

In taking the pictures, the sensitive film and 
the phonographic record are made simultaneously, 
and the operator is never in doubt as to results, 
because the length of the films always correspond 
as to time to the fraction of a second! with the 
phonograph record. An entire evening's enter- 
tainment may already be presented by both of 
these devices. 

The all-important problem facing those pro- 
ducers of plays and spectacles who have not up 
to this time changed their environment, is whether 
Mr. Edison's prophecy means the ultimate pass- 
ing of the player in the flesh. Of course, the 
actors are absolutely requisite for the original 
films and records, but with over six hundred 
representative players already firmly intrenched 
in the film studio, and one-third of the regular 
playhouses transformed into temples of the silent 
drama, the advent of the successful talking pic- 
tures would certainly mean that entertaining the 
public through science and artifice has reached 
the positive stage. 

There are in New York City to-day one hun- 
dred theatres, seating from 500 to 3,000 persons, 
that were not in existence four years ago. These 
establishments are called "neighborhood" thea- 
tres. Of this number one-fifth are owned or 
controlled by Marcus Loew, who, six years ago, 
was maintaining a penny arcade in Harlem. To- 
day he is a multimillionaire. In the last two 
years he has erected four palatial theatres with 
enormous seating capacity in the cpn^ested dis- 
tricts of the greater city. Each of these estab- 
lishments cost about a million dollars, yet in 
none of them is there a seat which costs its 
purchaser more than twenty-five cents. 

A few years ago there were five legitimate 
playhouses on Fourteenth Street. To-day there 
are none, all have been reverted to the camera 
man, except the Academy of Music, and even 
this erstwhile home of grand opera is leased by 
William Fox at an annual rental of $100,000 for 
no other reason than to prevent any competitor 
from utilizing it as a moving-picture theatre in 
opposition to the several gold-laden establish- 
ments operated by Mr. Fox on the same street. 

R. G. 



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RIVERSIDE PRESS, NEW YORK. 



THE THEATRE MAGAZINE ADVERTISER 




that is not the only reason why you 
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The new unit power-plant all mounted on a metal 
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The new push-button release on the hinge-lock of the lid 
making the closing of the lid a thumb-and-fi nger operation. 

Go to any Columbia dealer and ask him to play any 
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first of our new series of booklets, "The Story of an Opera." 

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The Columbia "Favorite" Grafonola, like all other 
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On September 8th 



L'ART DE LA MODE Fashion Salon at 8 West 38th St., New York, 
will be opened with the most complete exhibit of models for the Fall 
ever presented. 

For the past three years the genius of the French Couturiers has been 
taxed to the utmost to outdo in beauty of design and novelty of treat- 
ment anything yet attempted in fashions. 

Like every notable change, the new fashions have passed through many 
evolutions, but we can state with emphasis that the Winter of 1913-1914 
will go down in history as the year in which were created the fashions 
really typical of The Twentieth Century. 

It is right in Paris, working side by side with those wonderful masters 
of fashion, that our editor and artists have been for the past several 
weeks, in order to make the L'ART DE LA MODE exhibit most 
interesting, most attractive, and worthy of our readers' visit. 

Well -gowned American women who are looking for individuality, ap- 
preciate that L'ART DE LA MODE possesses the chic that makes 
her French sisters the envy of the world. 

Besides L'ART DE LA MODE creations, will be found the only 
authentic models of Chemit, Redfern, Doeuillet, Premet, Paquin, Beer, 
Worth, and others. 

As in the past, a special room will be devoted to the display of fabrics, 
both domestic and imported, as well as trimmings, laces, etc. 

More than ever, L'ART DE LA MODE is the Fashion Authority, 
and no up-to-date woman can do without it. 

During the exhibit and the entire month 
of September, we are extending a special 
four months subscription for $1.00. 

REMEMBER THE ADDRESS 
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AND THE DATE 

SEPTEMBER THE EIGHTH 



1913 



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Lydia Kyasht, the world's most beautiful dancer, who is coming here this winter 

CONTENTS: SEPTEMBER, 1915 

Edited by ARTHUR HORNBLOW 

COVER: Portrait in Colors of Miss Mary Pickford. PAGE 
( '( INTENTS ILLUSTRATION : Lydia Kyasht. 

TITLE PAGE: Cyril Maude 77 

OPENING OF THE SEASON Illustrated 78 

FLORENCE MACBETH, A SINGER OF THE ROYAL LINE Illustrated 82 

IHE NEW PLAYS: ,. The Si]ver Wcddi ., .. The Passing Show of 1913 " The T ani ; ng of the 

Shrew," "The Lure." 03 

FORBES-ROBERTSON'S FAREWELL TO THE STAGE Illustrated Marion Taylor . . ' . 84 

SIR JOHNSTON FORBES-ROBERTSON AS HAMLET Full-page Plate 85 

STAGE REALISM OF THE FUTURE Illustrated David Belasco ... 86 

SCENES IN "THE PASSING SHOW OF 1913" Full-page Plate 89 

Miss GENEVIEVE HAMPER Full-page Plate 91 

"TARTARIN" ON THE PARISIAN STAGE Willis Steell .... 92 

WHY STAGE MODESTY SHOULD PREVAIL IN MUSICAL COMEDY Illustrated 93 

OLIVE WYNDHAM Full-page Plate 95 

PREPARING THE STAGE MEAL BEHIND THE SCENES C. I. D 96 

JOSE COLLINS Full-page Plate 97 

SHAKESPEARE AFTER THE NEW MANNER AT HARVARD Illustrated . . . Francis Powell . . . " q8 

THE YOUNGEST THEATRICAL MAGNATE Illustrated ....... Belden Lee .... 100 

SCENES IN "WHEN DREAMS COME TRUE" Full-page Plate 101 

MARTHA HEDMAN Full-page Plate 103 

REMINISCENCES OF MLLE. RHEA By Herself .... 104 

SCENES IN "THE SILVER WEDDING" Full-page Plate . 105 

A MAKER OF MOONS * Grosvenor A. Parker . . xii 

THE HULL HOUSE PLAYERS Illustrated Elsie F. Weil .... xix 

NEW STARS. OF NEXT SEASON . xxiii 



CONTRIBUTORS The Editor will be glad to receive for consideration articles on dramatic or musical subjects, sketches of famous actors or singers, etc., 
ostage stamps should in all cases be enclosed to insure the return of contributions found to be unavailable. All manuscripts submitted should be accompanied 



etc. P . 

when possible by photographs. Artists are invited to submit their photographs for reproduction in THE THEATRE. Each photograph should be inscribed on the back 

cter with that of the character represented. Contributors should always keep a duplicate copy of articles submitted. 



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Grace 






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THE THEATRE 



VOL. XVIII 



SEPTEMBER, 1913 



No. 151 



Published by the Theatre Magazine Co., Henry Stern, Pres., Louis Meyer, Trcas., Paul Meyer, Sec'y; 8-10-12-14 West Thirty-eighth Street, New York City 




CYRIL MAUDE 

The distinguished English actor who conies to New York shortly on his first American tour. He will be seen here in some of his 

most successful characterization^ 



arony MARGARET ANGLIN Saruny JoH\ H1<K\\ 




OltoSarony MAUDE ADAMS 




White 



FRANCES STARK 



OPENING 0] 



THE first guns of the new theatrical season have already been fired. 
At the Longacre, Thomas Wise opened with Edward Locke's 
comedy, "The Silver Wedding." At the Fulton, Richard Ben- 
nett has resumed with Brieux' pathological drama, "Damaged Goods." 
At the Lyric has been seen "When Dreams Come True." At the 
Maxine Elliott, George Scarborough's drama of white slave life, entitled 
"The Lure," has met with a substantial success. At the Thirty-ninth 
Street, the farce, "Believe Me, Xantippe." is on view. At the (ilc >!><. 
Richard Carle and Flattie Williams are appearing in "The Doll Girl." 
At the Cohan are our amusing friends', "Potash and Perlmutter." 

From now on the openings will come in rapid succession. At the 
Lyceum, August 28th, Harrison Grey Fiske will present Ferenc Mol- 
nar's new comedy, "Where Ignorance is Bliss." On September i 
Julia Sanderson will again be seen at the Knickerbocker in "The Sun- 
shine Girl." On the same evening Mr. Ames will produce at the 
Comedy a domestic drama by Mark F. Swan entitled, "Her Own 
Money," with Julia Dean in the leading role. 

Of Shakespeare this season we shall have aplenty. On September 
r, at the Empire, John Drew will appear in a Shakespearean plav for 
the first time since he has been under Charles Fnihman's management. 
He will be seen in "Much Ado About Nothing." Laura Hope Crews 
playing Beatrice to Mr. Drew's Uenedick. and Mary I'.oland the Hern. 
There will be special music for this production which, it is announced, 
will be unusually elaborate. 

Edward H. Sothern and Julia Marlowe open at the Manhattan ( )pera 
House the first week in September and during their five weeks' stay in 
New York they will present these plays: "Macbeth," "Hamlet," "Romeo 
and Juliet," "As You Like It," "Much Ado About Nothing," "Taming 
of the Shrew," "Merchant of Venice" and "Twelfth Night." 

About the same time that Sothern and Marlowe are giving Shake- 
speare at the Manhattan, Forbes-Robertson will begin at the new Shubert 
Theatre what is announced as his farewell tour of America. The 
famous English actor will play, in addition to his Shakespearean reper- 
toire, "The Passing of the Third Floor Back," "The Light that Failed." 
and George Bernard Shaw's "Caesar and Cleopatra." 

Later in the season, William Faversham, appearing under his own 
management, will again play "Julius Caesar," and will add for this season 
"Othello" snd "Romeo and Juliet." 

Margaret Anglin will make a Shakespearean and classical tour pre- 
senting Greek plays and Shakespearean repertoire. 

Still another Shakespearean player is Robert Mantell. who this season 
will make an elaborate production of "King John," his wife, Miss 
Genevieve Hamper, appearing as Prince Arthur. 

At the time of going to press, Mr. Belasco's plans have not been made 
public. This manager, however, is known to have at least two foreign 
pJays among his scheduled productions for this and next season. 

Early in September Richard Harding Davis' farce. "Who's Who," 
will be given at the Criterion, with William Collier as the star. Blanch: 






ESEA 



Bates has a new Barrie play called "Half Hour," in which she will be 
seen m October. In conjunction with this piece she will appear in a 
three-act play by Stanley Houghton entitled, "The Younger Genera- 
tion," the cast of which necessitates the employment of thirty good 
players, including Ernest Lawford. Mme. Nazimova is to cont'inue in 
'Bella Donna," on tour, until next March, when she will sail on a tour 
round the world. Otis Skinner will remain in "Kismet" for the present 
John Galsworthy's new four-act play, "The Mob," will be produced 
here in December, prior to its London presentation. Two other Barrie 
fifty minute plays will be given this season, the one called "The Will" 
and the other "The Little Policeman." Mr. Frohman also has a new 
play by Edward Sheldon which will be produced in October, new come- 
dies by Thompson Buchanan and Stanley Houghton, and a play by 
Henri Bernstein which will be produced for the first time in New York. 
Ethel Barn-more will probably be seen in a four-act play by C. Haddon 
Chambers, from the novel, "Tante." A London success, "Eliza Comes 
to Stay," will be presented in January with the entire company from 
the Criterion Theatre, London, H. V. Esmond and Eva Moore playing 
the leading roles. Donald Brian follows Julia Sanderson at the Knicker- 
bocker in "The Marriage Market," To the Garrick, on September 15, 

"Madam President," a play by Veber and Henniken. 
Among other foreign musical pieces to be seen here are : "The Girl on 
the Film," no \ v running at the Gaiety, London; "The Little King," 
ivhich was given in Vienna, a play entitled, "The X-Ray Girl," now 
being written by Paul Rubens, author of "The Sunshine Girl"; a musical 
review by Caillavet and de Flers, who have also completed the book of 
La Montansier," which Harry B. Smith will re-adapt for America. Mr. 
Frohman has secured the American rights of Oscar Strauss' latest 
operetta which will be seen in London and New York almost simul- 
taneously, and he also has the rights of "The Laughing Husband." 

Vlaude Adams will begin her New York engagement about Christmas, 
appearing at the Empire first in "Peter Pan," and later in Barrie's new 
play, "The Legend of Leonora." Following this, Miss Adams will 
be seen in another Barrie programme, consisting of "The Ladies' 
Shakespeare, Being One Woman's Version of a Notorious Work 
Edited by J. M. Barrie," and "Rosalind." 

\\ ilham Gillette will open his season in November in repertoire. In 
December, Billie Burke will appear in W. Somerset Maughan's four-act 
comedy, "The Promised Land." John Mason has a new play by 
Augustus Thomas called "Indian Summer." 

I he Shuberts have an unusually interesting list. They have an Eng- 
ish play, by Monckton Hoffe, entitled "Panthea," the theme of which 
' likely to create a sensation, and they have also several new plays by 
nerican authors: "A Modern Girl," by Ruth C. Mitchell, "The 
Warning," by Arthur J. Eddy, and another called "If We Had Only 
Two American comedies will be produced, the first a drama- 
ation ,,f t] lt . "p a Flickenger's Folks," stories which appeared in the 
ni Marine ami later published by the Harpers. Bessie Hoover 



Sarony 



BLANCHE BATES 



8o 



THE THEATRE MAGAZINE 




is the author of the stories, and 
they will be put on the stage 
under the title, "The Winning of 
Ma." The other comedy, by 
Albert Lee, is called "Miss 
Phoenix/' and deals with modern 
New York life. 

Louis Mann will be seen in a 
play by Clara Lipman (Mrs. 
Louis Mann) and Samuel Ship- 
man. The play is called "Chil- 
dren of To-day," and is a satirical 
comedy. Bertha Kalich will be 
seen in a translation of a German play which has already won 
success in Germany. It is by E. E. Ritter, and is called "Her 
Son's Wife." 

A play called "Suttee," by Guy Bolton, to be presented here 
for the first time, is described as a problem play dealing with a 
woman who is married to a man who has wrecked his life. George 
Scarborough is the author of another play, "At Bay," which is 
to be presented with Guy Standing and Crystal Herne. 

Of foreign plays the Shuberts will 
present Granville Barker and his 
English company in three plays, in- 




Lillian George 

CHRISTIE MACDONALD 



Otto Sarony 

ELSIE FERGUSON 



The third season of Winthrop 
Ames' Little Theatre will begin 
early in October with the comedy, 
"Prunella, or Love in a Garden," 
by Lawrence Housman and Gran- 
ville Barker, with accompanying 
music by Joseph Morat. Mr. 
Ames' new playhouse in West 
Forty-fifth Street which will be 
called The Booth Theatre, in 
honor of Edwin Booth, will be 
opened the first week in Septem- 
ber with Arnold Bennett's new 
drama, "The Great Adventure." Janet Beecher will play the 
leading feminine role in this piece. Paul Apel's comedy, "Hans 
Sunkicker's Ride to Hell," has also been secured by Mr. Ames 
in conjunction with the Messrs. Shubert. A new drama, by 
Cyril Wentworth Hogg, called "The Clash," will be produced 
later. Mr. Ames has also entered into negotiations with Gran- 
ville Barker to bring his Shakespearean productions here. 

Mrs. Fiske will go on an extended tour in Edward Sheldon's 

play, "The High Road," and later this 
actress will be seen in a new play, 
the title of which has not vet been 




Copyright, Moffeti 
C 

eluding one by Barker, one by Shaw, 

and one by John Galsworthy. "The Moffett 

Whip," which was in New York last 

season, is to be brought back and there will be presented three 

Drury Lane successes "Hop o' My Thumb," "Cheer, Boys, 

Cheer," and "Dreadnought." 

A Max Reinhardt spectacle, "Turandot," will be presented 
during the year. The only French plays so far listed is Lucien 
Nepoty's "Les Petites," which will be produced here as "The 
Little Ones." 

The first musical production to open the Casino, will have 
several members of the Gilbert and Sullivan company of last 
season, headed by De Wolf Hopper. This company will play 
"Lieber Augustin," given last season in London as "Princess 
Caprice." The music is by Leo Fall, who wrote "The Dollar 
Princess" music, and the book by Welisch and Bernauer. 

"Oh, 1 Say!" is another mu- 
sical play to be seen here, though 
it was originally a French farce 
and is now running in London. 
For the Winter Garden Gaby 
Deslys has been engaged to ap- 
pear in November, and to make a 
tour afterward in a new piece. 

Arnold Daly will play the lead 
in "Gen. Sir John Regan," a 
part originated in London by 
Charles Hawtry. 




made public. Allan Pollock will plav 
DONALD BRIAN tne leading role in a new American 

comedy by Hutcheson Boyd and Ru- 
dolph Bunner, which will be produced this season. 

Messrs. Klaw and Erlanger will present Bert Williams, the 
colored comedian, in an extravaganza adapted from "Robin- 
son Crusoe," by Glen MacDonough. They will also produce 
C. M. S. McLellan's and Ivan Caryll's new musical play, "The 
Little Cafe," with Hazel Dawn and John H. Young, and they 
have secured "The Envious Butterfly," an operetta in three acts, 
by Carl Lindau and Bruno Granichstadten. Franz Lehar's new 
play, "The Ideal Wife," presented in Berlin with Else Alder in 
the leading role, will later be seen in this country, as will Fraulein 
Alder. This management has a contract for "The Circassian 
Beauty," a musical play by Willner and Steffan, and they will 
bring over in its entirety Michael Faraday's company and pro- 
duction of "Amasis," the Egyp- 
tian musical play. Another pro- 
duction on their list is the drama- 
tization of Harold Bell Wright's 
novel, "The Winning of Barbara 
Worth," by Edwin Milton Royle. 
They have also scheduled for 
early presentation, "Silk," by 
Frank Mandel and Helen Kraft, 
and later A. E. Thomas' drama, 
"Marie Claire," will be given. 
At the Liberty the season will 



White 




OTIS SKINNER 



Whitf nAVID WARFIELD 



THE THEATRE MAGAZINE 



81 




White 



FAIRIiAXKS 



open with a revival of "Rob 
Roy." The New Amsterdam 
opens with "Sweethearts," with 
Christie MacDonald in the lead- 
ing role. The popular comedian, 
Maclyn Arbuckle, will be seen in 
"The Merry Martyr," a new mu- 
sical comedy by Glen Mac- 
Donough, based on Leo Birinski's 
comedy, "Narrentanz." About 
October i, Elsie Ferguson will 
be presented in a new American 
play, by William J. Hurlbut, entitled, "A Strange Woman," and 
William II. Crane has a new play by Martha Morton. In con- 
junction with Henry Miller, Klaw and Erlanger will present 
"In the Vanguard," a play by Mrs. Spencer Trask. This piece 
will be seen for the first time in Chicago in September. 

Grace George has a new comedy, by Avery Hopwood, in 
which she will appear in September, and a comedy entitled, 
. "Any Woman Would," by MacDonald Hastings. Mr. Brady 
has made an agreement with the directors of the Grand Guignol, 
of Paris, whereby the most successful of their playlets will be 
seen at the Princess. He will 
bring over in November a company 
in "Hindle Wakes," headed by Her- 




Mishkin 

WALLACE F.nm.NCKK 



C e n t.," a comedy by Porter 
Emerson Browne ; a comedy 
drama entitled, "Back Home," 
from the book by Irvin Cobb, 
who with Bayard Veiller, author 
of "Within the Law," is making 
it ready for the stage; a new 
comedy by Edward Laska called 
"The Brain Promoter," and 
George Middleton's "Home 
Ties," a play based on woman 
suffrage, will also be produced. 

The distinguished English character actor, Cyril Maude, will 
visit this country next month, presenting his chief London suc- 
cesses, including "Beauty and the Barge," "The Second in Com- 
mand," "The Headmaster," "The Flag Lieutenant," "The Toy- 
maker of Nuremberg," "Toodles," and Austin Strong's "Rip 
Van Winkle." Marjorie Maude, his daughter, recently leading 
lady to Sir Herbert Tree and George Alexander, will accom- 
pany him. 

"The Money Moon," a comedy by J. Hartley Manners, based 
on Jeffrey Farnol's novel, is another play to be presented. The 

musical piece, "The Tik-Tok Man of 
Oz," by J. Frank Raum and Louis 
Gottschalk, which has had a profitable 




Whit 



WILLIAM FARNUM 



bert Lomas and Emilie Polini. A 




JOHN BARRY.MORE 



EDNA GOODRICH 



run in Chicago, will be brought to 
New ' York - For the present, Laurctte 
Taylor will continue at the Cort in 



piece called "The Family Cupboard," White 
will also be presented. Other plays 
to be produced are: "The Co-Respondent," by Rita Weiman J. Hartley Manners' comedy, "Peg o' My Heart." In conjunc- 
and Alice Leal Pollock; "A Lady of Long Ago," a romantic tion with John Cort, Oliver Morosco will present "The Elixir 
melodrama by J. P. Drayton, and "Come Home, Smith," by of Youth," in Chicago, and he also has "The Fox," a crook- 
James Montgomery. "The Lone Star Girl," a musical version comedy by Lee Arthur; "Gauntlett's Pride," a satire by J. Hart- 
of "The Texas Steer," will be given at the Forty-eighth Street ley Manners, and "Barbaraza," a tragedy by the same author. 
Theatre. Madge Kennedy will be seen in a new play by Philip In addition to six "Within the Law" companies, the American 
Bartholomae entitled, "A Day Dream." Play Company will produce "Fair Play," by Christie Matthew- 
Wallace Eddinger will assume the leading role of "Seven son, the well-known pitcher of the "Giants," which he wrote in 
Keys to Baldpate," dramatized by George M. Cohan from Earl collaboration with Rida Johnson Young, and "Under Cover," a 
Derr Bigger's novel of the same name, which is to be seen at play dealing with smuggling operations as they are conducted 
the Astor on September i. Edgar Selwyn's farce, "Nearly here. Jane Cowl will be starred about Christmas in a new play 
Married," will be presented on the same date at the Gaiety by Marguerite Mayo, and Helen Ware also has a new play. 
Theatre, with Bruce McRae in the cast. Raymond Hitchcock Margaret Illington, who is to head "Within the Law" Western 




will be seen with Flora Zabelle in company, will be seen later in a 
a new musical play. George M. new drama. 
Cohan will begin his last season 
as an actor at Cohan and Harris' 
new Bronx Opera House, Sep- 



At the Park, on September 
29, Longfellow's "Evangeline" 
will be presented. The stage 



tember 29, making his farewell version is by Thomas Broadhurst 
to the stage in his own play, and the incidental music by 
"Broadway Jones.'' William Furst. Edna Goodrich 

Douglas Fairbanks will be seen will play the title role. A new 
in "Cooper Hoyt, Inc.," by Frank play, as yet unnamed, by Eleanor 

Gates, author of "The Poor Little 
Rich Girl," \\-ill be produced early 



Lord and Hugh Ford, a new 
three-act comedy. "520 Per 




K opp 



HAZEL DAWN 



T H !: T II P. A T R I- MAGAZ1 N E 




in tlic season, and a new comedy 
drama by Rachel Crnibers will also 
be presented. The European success 
"The Deluge," by Henning Berger, 
adapted by Frank Allen, which has 
been seen in Norway, Sweden and 
Germany, will also be presented here. 
The Hudson reopens with a new 
play by Bayard Veiller entitled, "The 
Fight," in which Margaret Wycher- 
ley has the leading role. Following 
the engagement of "Damaged Goods," 
at the Fulton, a new play by Dion 
Clayton Calthrop and Cosmo Gordon 
I.cnnox entitled, "The Shadow," will 
be produced by the James Forbes 
company. A. H. Woods will offer in 
November a piay of modern American life by Alfred O. War- 
burg and Col. Jasper Ewing Brady entitled, "The Pharisee." 
Marcus Loew is to present the former vaudeville heaclliners, 
Montgomery and Moore, as musical comedy stars. 

Henry W. Savage will present "Uncle Zeb," a comedy by 
Rupert Hughes, with Willis Sweatnani in the leading role. He 
will also produce "The Gypsy Leader," "The King of the Moun- 
tains," a French comedy entitled, "La Demoiselle de Magasin," 
and "Delftland," by P. Hans Flath and Dr. Margaret Crosse. 
Other plays to be produced are: "Miss Swift of New York," 
with Julian Eltmge in the leading role; "Seven Wives and Seven 
Days." by William Parker Chase, "Her Little Highness," "The 



.11 I.lA UKAN 
To appear in Mark K. Swan's 
pl;iy, "Her Own Money" 



Jolly Peasant," and "Mr. Popple." 

II. If. F razee will present "The 
Realist," a new play by Eden C. 
Greville, a new play by Frances 
Whitehouse and a modern drama by 
Catherine Chisholm dishing, author 
of "Widow by Proxy." "Adele," a 
new musical comedy written by Jean 
Briquet and Paul Herve, the Ameri- 
can adaptation by Adolph Phillip and 
Edward A. Paulton, will be seen at 
the Longacre. The comedy, "The 
Love Leash," by Anna Steese Rich- 
ardson and Edmund Breese, will be 
presented in October, and about 
January, a satirical farce comedy by 
Guy Bolton entitled, "The Rule of 
Three," will be seen here. 

In October Messrs. Werba and Luescher will present Leo Fall's; 
operetta, "The Jolly Peasant." with David Bispham. 

Lady Constance Steward-Richardson, Mile. Polaire and Ger- 
trude Hoffmann will make an international world tour together. 
They will open in September at Washington, D. C., and close 
two years later in San Francisco. Miss Hoffmann, representing 
America, will have a new revue of twelve scenes; Lady Steward- 
Richardson, representing England, will interpret classic dances 
alone, and Mile. Polaire, representing France, together with a 
supporting company of twelve artists, will present her latest 
Parisian success, "Le Visiteur." 




CKORCK M. 0>IIA.\ 

Who makes his farewell to the 
stage this season 



THE musical sensation in London this summer was the 
appearance at Queen's Hall, on June 131)1, of Florence 
Macbeth, a young American coloratura soprano, hitherto 
unknown to fame, yet who, declares a London critic, is 'likely to 
prove herself of the royal line, the 
line at one end of which still stands 
Mine. Patti. This is astounding 
praise from the always conserva- 
tive and exacting English critics, 
but it appears to voice the general 
opinion of this artist who has been 
secured by Signer Gatti-Casazza 
for the Metropolitan Opera House 
and, according to the latest cable 
dispatches, has also been engaged 
by Impresario Campanini for the 
Chicago Grand Opera Company. 

Florence Macbeth was born at 
Nankato, in Minnesota, twenty- 
two years ago, and for four years 
has studied singing under Mr. 
Yeatman Griffith in Italy, America, 
and London. "She possesses," says 
the London Daily Telegraph, "-i 
voice of quite remarkable range, as 
witness the fact that she sang to 
an invited audience in Queen's 
Hall, not only the Bell Song 
from 'Lakme,' but also the 
famous air, Una Voce poco fa, 
from 'II Barbiere,' which has a 
compass of well over two octaves; 
and of these she made absolute 
child's play. To so remarkably 
gifted a singer they were in- 




FLORENCE MACBETH 

The new American coloratura soprano who has met with phenomenal 

success abroad and who has been engaged for the Metropolitan Opera 

House, New York 



deed child's play, these' 'show pieces' of a generation before her. 
l!ut these were trifles, for after them Miss Macbeth was asked 
to sing the abnormal and musically hideous coloratura song from 
'Ariadne,' of which we have heard so much in the last few 

days. Like the songs already re- 
ferred to, this, too, was sung not 
only with the most complete pre- 
cision, but with an apparent joy 
that almost reconciled one to its 
abnormality. In these extracts 
Miss Macbeth showed a voice that 
is perfectly even and flawless from 
the low G sharp to the F sharp in 
alto, or as nearly as possible three 
octaves. No doubt other singers 
exist who have a wide compass of 
somewhat similar range, but frank- 
ly, in manv years we have not 
heard a voice that has throughout 
its whole extent the same warmth 
of tone, the same astounding 
roundness, the same absolute ac- 
curacy of pitch, and the same 
beautiful quality from its lowest 
notes to its topmost heights, and 
we doubt if such a voice has been 
heard since Madame Patti first 
appeared. With her amazing 
breath control and the other quali- 
ties enumerated. Miss Macbeth, it 
seems, must inevitably have a career 
that may well prove historical, and 
her commands of facial expression 
seems to indicate that the operatic 
stage is her evident destiny." 



White George Probert Mary Xash 

Act II. In the spider's web. The victim of the Cadet's brutality calls for hel] 
SCENE IN "THE LfRK," AT THE MAX INK ELLIOTT THEATRE 



Susanne Willis Vincent Serrano 




LONGACRE. "THE SILVER WED- 
DING." Comedy in three acts by Edward 
Locke. Produced on August nth last 
with the following cast : 



Ludwig Koehler. . . 
* tttomar Klotz. . .. 

Juan Jacinta 

Karl Rehbein 

George Eckhart. . . 
IK-inie Schmidt. . . 



....Thomas A. Wise 
...Frank McCormack 

Guinio Socola 

Carl Hemmann 

C alvin Thomas 

David R.JSS 



Hans Weighart Gerhardt Jasperson 

Frau Koehler Alice Gale 

Martha Koehler Cecile Breton 

Lucy Rehbein Edna Temple 

Margaret Rehbein Violet Moore 

Frieda Hachradt Lillian Ross 



This is a very big and comprehensive city, so it is just possible 
that it contains a great number of unsophisticated citizens. If 
so, it is from this class that "The Silver Wedding" will depend 
upon to draw for audiences at the Longacre Theatre. Edward 
Locke's original comedy in three acts is a harking back to those 
days when "Josh Whitcomb," "Jed Prunty," "The Old Home- 
stead" and ''Way Down East" were such popular favorites. It 
is just possible that after such an influx as has been had of the 
crook plays, with their thieves and white slavers, that even Metro 
politans will be glad to return to the placid and sentimental hap- 
penings of farm and suburban life. 

The star of the piece, and he is certainly that, as from rise of 
curtain to final fall he is hardly ever off the stage, is Thomas A. 
Wise, who enacts Ludwig Koehler, a Pennsylvania Dutchman 
and a saddle-maker. A man of genial impulses, there is still a 
stubborn streak in him, which comes to a head when he hears 
his prospective son-in-law say something about "a pigheaded 
Dutchman." He believes this refers to him, for as his cantanker- 
ous disposition increases, each of the cast applies the same re- 
mark to him. He refuses his consent to his daughter's wedding 
to a young drug clerk, and much of the fun takes place in the 
second act where, as leader of the local band, he is forced to 
attend her wedding. The third act takes place a year and a 
half later. In the kitchen he and his wife are celebrating their 
silver wedding. He longs for the daughter's return. The local 
populace gives the old couple a surprise party, while the real 
surprise for him comes when his daughter, her husband and their 
baby arrive to bring about general contentment and good cheer. 

It is certainly a shoestring of plausibility on which Mr. Locke 
has builded his comedy. To a story and form as ancient as the 
hills the author has utilized a dozen or more of the old details 
and cross purposes of early Victorian farce. The arrangement is 
neat and dextrous, but there is woeful reiteration, and the ampli- 
fication of incident and prolonged employment of detail wears 
upon the 1 nerves. Mr. Wise is rather his own comic self than a 
Dutchman, but the wife is played with a simplicity and sustained 
expression by Alice Gale that is quite Cottrelly-like in its finish. 



Frank McCormack lends valuable 
aid as a cross-grained friend, and 
Lillian Ross is expertly precocious 

as a diminutive maid servant. A Portuguese barber is acted with 
true Latin vivacity by Guinio Socola, and the village parson with 
gentle dignity by Carl Hemmann. The stage settings are 
Crummies-like in their verity. There is a kitchen pump that 
squeaks when it pours out real water. 



WINTER GARDEN. "THE PASSING SHOW OF 1913." Play in two 
acts. Dialogue and lyrics by Harold Atteridge; music by Jean Schwartz 
and Al. W. Brown. Produced on July 24th with this cast: 



Usher Tony Hunting 

Tired Business Man Harry Gilfoil 

Modern Poet Herbert Corthell 

Bully Billie Burke ("online Francis 

Cinderella Janis Laura Hamilton 

Scarecrow Stone Freddie Nice 

Punkin Montgomery .. .Charles DeHaven 
Never-Say-Die-Collier. . .Wellington Cross 

The Sunshine Girl Lois Josephine 

Fair Lillian Grace Kimhall 

Mrs. Potiphar May Boley 

Parcel Postman Lew Brice 

Peg o' My Heart Molly King 

Michael Rab By Himself 

An Ex-President Edward Begley 



Broadway Joner Charles King 

"Woody" Sydney Grant 

Gaby Gwendolyn Lillian Gonne 

Joe Garson George Le Mai re 

Conspiracy Bill Frank Conroy 

Inspector Burke John 0. Thomas 

Her Butler George Hanlon 

His Reflection George Ford 

Paylovnaperdansky Bessie Clayton 

Fairy Queen Gab. ..Charlotte Greenwood 

"Chicago Red" Henry Detloff 

Maggie Pepper Virginia Gunther 

Patricia Paprika Nell Carrington 

Letty Lettuce Nell Howard 

Olive Oil Irene Markey 



These mid-Summer productions and reviews are getting to-be 
very serious matters. Instead of being sources of relief to the 
poor, tired business man, they exact of him more gray matter 
than even his daily commercial or professional duties call for. 
Watching such a show as is now in view at the Winter Garden, 
"The Passing Show of 1913," he runs great danger in various 
directions. First, there is danger of incurring strabismus from 
the marvellous color schemes evolved by Melville Ellis ; then the 
strain occasioned in trying to determine who's who in a program 
of half a dozen pages of closely printed names is calculated to 
bring on the fidgets. Jumping from scene to scene (there must 
be at least twenty of them) is a severe mental tension while 
watching a regiment of shapely young women do stunts on a 
flight of stairs, numbering thirty-two steps in all, but calculated 
to bring about nervous prostration. 

It was George W. Lederer who inaugurated this type of show 
at the Casino many years ago. His formula was to put a little 
of everything in his entertainment at the first performance. Fre- 
quently the final curtain would not fall till long after midnight ; 
then the next day he would eliminate what fell flat and build up 
and amplify that which got over. Something like this will be 
and has been done by the Shuberts. Their show needs it. The 
iirst act in professional vernacular "went big." but what followed 
was something in the nature of an anti-climax. 

Shows of this kind are built, (Continued on faye xi) 




Forbes-Robertson's Farewell to the Stage 

K 



ING GEORGE'S Birthday Honors' List this 
year contained no name more respected than 
that of Johnston Forbes-Robertson. In making 
the actor the recipient of knighthood it may well be said that 
the title is honored by the man, rather than the man ennobled by 




me a new view of the matter. Except for Miss 
Terry s kindness and persistence, I don't suppose I 
should have ventured." 

And so, when Sir Henry Irving went on tour, Forbes-Robert- 
son took over the Lyceum Theatre and brought out his own 



the title; for, apart from his transcendent gifts and long and wonderful version, and was promptly accepted as the greatest 



honorable career upon the stage, his wide culture, high ideals, 
exquisite refinement, and above all, his flawless character, easily 



Hamlet of modern times some even claiming him to be the 
greatest the world had ever seen. It ran a hundred nights in 



single him out as a man among men. Whether we view him London and then was presented abroad. Later, he repeated 



as actor, artist, orator, or erudite Shakespearean scholar, we see 
ever the modest, equable, unassuming, yet courtly English 
gentleman. 

His career of thirty-nine years as an actor ^ 
and actor-manager might seem phenomenal 
did we not remember the tenacity of the 
Scotch blood that flows in his veins. Never 
at any time of robust physique, always giv- 
ing forth his best, ever working toward the 
highest ends, yet he has kept steadily on 
with splendid poise and a dignity that has 
never failed him. 

Sir Johnston, as might be expected, is of 
gentle birth. His father who went from 
Aberdeen to London more than half a 
century ago became a very celebrated art 
critic and historian. His mother, though 
living the sheltered life of a gentlewoman 
of those days, had a cultivated mind, strong 
character and many graces. He himself 
decided to become an artist and studied at 
the Academy with that end in view. 
Strange to say, however, another man's 
failure changed the course of his life and 
paved the way to the success that now is 
historic. It happened thus : The play, 
"Marie Stuart," had been running at the 
Princess's Theatre, and the author, when 
complaining to the elder Forbes-Robertson 
of his dissatisfaction with one of the 
characters, met with this rejoinder : ''Yes, 
our Johnston could do better." He was 
then twenty-one years of age and experi- 
enced only in private theatricals; never- 
theless he was given the part at a stipend 
of four pounds a week, and has been on 
the stage ever since. Not, however, al- 
together dropping his art work, for 
throughout his career he has designed and 
sketched the costumes and scenes for his 
own productions, and also taken time for 
the portraiture of many eminent people, 
including the great statesman, William Ewart Gladstone, Ellen 
Terry, Modjeska, Mary Anderson, Mrs. Patrick Campbell, and 
his own wife and sister-in-law, Gertrude and Maxine Elliott. 

Of surpassing interest is the way in which he came to play 
his greatest role, that of Hamlet. We prefer to give it in his 
own memorab'e words, as they so graphically portray his innate 
modesty, and throw light as well upon two charming friendships : 




GERTRUDE ELLIOTT (LADY FORBES- 
ROBERTSON) AS OPHELIA 



triumphs in America, even in Philadelphia, where Shakespeare 
is enshrined in the hearts of the people. 

Second only to Hamlet is his delineation of Shylock, which 
^^________^^^ character he invests with an imperious 

dignity, in striking contradistinction to the 
cringing, servile figure of other presenta- 
tions. All who saw him in that exquisite 
play, "The Passing of the Third Floor 
Back," which ran continuously for three 
years and was lauded by all classes of 
people, the clergy as well as the laity, will 
remember the large percentage of Jews 
present at every performance. It was 
accounted for by the weaving in of a 
splendid tribute to the Jewish race; which, 
declaimed in the wonderful voice of 
Forbes-Robertson, thrilled one like a mes- 
sage from above. The glory, the majesty 
of an ancient people stood forth ; the 
sordid, the unlovely wrought by ages of 
contumely and oppression seemed to fall 
away, and hard, worldly faces took on 
strangely sweet and purified expressions. 
So in "The Merchant of Venice," it is the 
Gentile who stands before the judgment 
bar, and Shylock is proven more sinned 
against than sinning. 

In addition to his gifts as artist and 
actor Sir Johnston has the distinction of 
being one of the three best public speakers 
in England on the suffrage question, his 
personal friend, Earl Grey- former Gov- 
ernor-General of Canada and Israel 
Zangwill being the other two. 

Best of all, his married life sheds lustre 
on the stage, for his union with Gertrude 
Elliott, his leading lady, has been one of 
rare happiness. It could not very well be 
otherwise, for she is as good as she is 
beautiful and gifted. She was born in 
Maine and is a graduate of the New York 
State Normal School, yet California 
proudly claims a share in her, too, for her father, Captain 
Thomas Dermot retired from the sea transferred his home to 
East Oakland many years ago. Hence, it came about that his 
younger daughter studied for a time in San Francisco, crossing 
the Bay back and forth to do so. She is a very fine impersonator 
of the heroines of Shakespeare, particularly so of Ophelia, 
which she renders so touchingly and with such an appeal to the 



'Every actor-man who has fancied himself has always played heart that in it she achieves a personal triumph, although many 



declare her "piece de resistance" to be Cleopatra in George 
Bernard Shaw's "Csesar and Cleopatra." 

Sir Johnston and Lady Forbes-Robertson are blessed with 
three children, all of them girls. The eldest, Blossom slender 



Hamlet all over the shop. A great many people my friends. 

of course had urged me to try, but it always seemed to me an 

impertinence to make a great play the means of such personal 

advertisement. But when Mr. Irving also advised me to try 

Hamlet I began to think of the project more seriously, and exquisite as her flower-name goes to boarding- 
Miss Terry often spoke of it and it was her generous school now and already shows aptitude in art. Jean 
belief in the idea that persuaded me. She argued has an amazing head of hair and great originality, 
that a pianist never hesitated to play a Beethoven while Baby Chloe makes a picture sweet enough to 
sonata; that it was considered a pious, not an arrogant rival the widely-heralded one of "Baby Stuart." 
ambition. Putting a similar case in another art gave MARION TAYLOR. 












' i i, 



Copyright, Lizzie Caswall Smith SIR JOHNSTON FORBES-ROBERTSON AS HAMLET 

This distinguished English actor will make an extended tour here this season, it being his farewell to the stage. He will 
open in New York in October with a repertoire including "The Passing of the Third Floor Back," "The Light That Failed," 

and the Shakespearean plays 




HI Ml,;. 




TAO 




M OF TH 



^'V^'^nnS^Ia^r-^'^ -'.^* UVviv:'::^' *.'? ,"''*- <^J':i)^tf^r-V^^.;^.;-^.-':>^/^'g>.^>:.-'V^?./;;.:^vi:^ 




Copyright, 19(19, by David Belasco 

DAVID BELASCO 
A master in the art of mixing the colors of drama 



are strange 
whisperings in the 
air that are full of 
new dramatic material, new 
voices that thrill the soul 
with a murmur of a new 
generation, new faces that 
tell us the story of a differ- 
ent heart interest in the 
world. 

In my theatre in New 
York is a studio as com- 
fortable and restful as I always hoped it 
would be. Years ago I lived in it. It 
was not very costly then because it was 
merely a luxurious dream. However, it 
was the place of my ambition in my 
youth as it still is. It is now the place 
of more mature reverie perhaps, for as 
my hair grows white, I find it is really 
the place where I have spent all my life 
a private corner of it. 

From the windows of my theatre 
studio I find the sunsets are as tender, 
the storms as terrific, the sea and the sky as beautiful, the moon- 
light as caressing, everything as it was when I was young. The 
stars were above, and God is there among them still, but great 
changes have happened in the world. 

The dramatist's task has changed because everyone is think- 
ing to-day. The elemental moments of crisis in nature are the 
same, but the emotions have changed their form. Happiness 

and grief no longer 
express themselves 
in the same form 
of theatrical illu- 
sion. We have 
grown up, we must 
treat our emotions 
with more dignity 
and respect, be- 
cause we have a 
better knowledge 
of the truth. 

There are really 
few stage secrets 
to-day. They have 
mostly all been 
told, and therefore 
m y studio which 
was once a place of 
illusion perhaps, 
has become a study 
room ; for the the- 
atre demands a 
transcript of life. 
not an adaptation. 
Stage p i c t u t e s 
must have the sub- 
stance and the 
spirit of reality, for 
men and women 
have gone beyond 
the superficial ex- 
pression of feeling. 





Copyright, 1909, by David Belasco - 

"I believe in the play that deals in crises of emotion" 



The WOrds of 3 



play are fewer, as they are in life. The 
drama of to-day must be straight to the 
truth, unadorned. The limitations of the 
artists, the actor and actress, are the only 
hindrance to the realism of the future. 
This, to me, is the mystery of all 
mysteries. 

Why should there be a sudden ob- 
stinacy of artistic perception, why any 
final effort of the eternal soul in this life? 
There is scarcely an actor or an actress 
known to fame, scarcely a distinguished 
contributor to the literature of the the- 
atre of my day, who has not shared the 
secrets of my studio. I can hear their 
voices, feel the thrill of their power and 
genius as did those generations of thea- 
tre-goers over whom they reigned. And 
then suddenly something has gone wrong : 
the light of their souls is growing dim, 
the life of tragedy or comedy has grown 
weak in them, their artistic career stops. 
There still remain the few primary 
colors of which all drama is painted, but 
the skill of mixing these colors has increased. The whole scheme 
of playwrityig has changed as the world has grown younger. 

We speak of the past as old-fashioned. The present is youth, 
the past is old age. It has always been so. In all the years I 
have spent in active work the theatre has always set a new task 
for the producer. Stage traditions were good enough for a 
while till the audiences outgrew them, and then began the con- 
flict between the old theatre and the new. 

One day the heroine who used to shout her grief till the gallery 
shook found no sympathy with her audiences. Her snorts of pain, 
her rhythmic sobs were no longer appreciated. The acrobatic 
heaving of her bosom did not effect her audiences as they had 
in other years. 

What is the matter? Have they really grown tired of emotion- 
al acting? No, they knew more about emotions, that is all. The 
world had made a few striking discoveries, people had been read- 
ing, and it lias set them to thinking. They had never denied the 
truth of emotional experiences. They had simply found out that 
there was nothing athletic in them. This sort of emotional dis- 
play became too unreal even for the license of theatrical illusion 
which old theatre-goers allowed their actors; so the ranting 
heroine of melodrama was banished from the stage. 

The hero walked the plank next and plunged into oblivion. 
His waxed mustache, his pretty painted cheeks, his perfectly 
penciled eyebrows, and his effeminate air of virtue no longer 
found a place in the hearts of the most susceptible. He, too, 
was banished with the disgraceful epitaph upon the tombstone 
"A Matinee Idol." 

There were few who believed that the stage villain could ever 
be reformed, however. His sinister appearance and desperate, 
criminal heartlessness was an asset which the playwright parted 
with reluctancy. What would become of the third act thrill if 
this picturesque figure of villainy were subdued, they asked? So 
obstinately he continued to dissemble with such obvious energy 
that the audiences wondered why it took five acts to unmask him. 
His doom was sealed with the rest, however, and the producer 
had to get rid of him. He was replaced by a new villain, the 
sort of man whom no one suspected, whom no one feared, whom 
everyone liked. He became the chief object of sympathy. In 
a little while people felt sorry to see such a splendid, amiable, 
good-looking chap go wrong. He was such an alluring devil, 




UTUR 



By DAVID 




.'?.' ^"3 



''' 




Copyright, 1909, by David Belasco 

"I live close to the heartbeats of men and women" 



too, that he won the tender fancy of pretty women, and took the 
place of the once wooden hero. It was very difficult, indeed, at 
this time to get a hero who made good with the public, because 
the new villain was the most popular. I feel that he has done a 
great deal of good, though with all the 
harm he could. 

There still remains the adventuress to 
deal with. For years and years she could 
never be an American. No amount of 
ingenuity would permit such a seeming 
falsehood. For many years she was as- 
sociated chiefly with French, or Italian, 
or Spanish blood. Her badge of dis- 
honor was the cigarette, her favorite 
color was a smashing red, the heels of 
her shoes were immoral, and her black- 
wig denoted the recklessness of her char- 
acter. She usually spoke in broken Eng- 
lish to establish her identity as an un- 
desirable alien. It didn't matter so much 
how broken the dialect was, that too, 
was immaterial. Most of the stage ad- 
yenturesses were beautiful women, and 
these actresses contributed a great deal 
to the fashions of their days. We have not quite overcome this 
stage prejudice to an American-born adventuress, but the news- 
papers and magazines are gradually enlightening us. Briefly, 
these were the obstacles to theatrical progress which have 
brought about theatrical realism. 

To disperse them was easy enough, to replace them was the 
difficulty. The ethics of drama demanded their utility. The 
search for their substitutes brought about an interesting awaken- 
ing for the stage. In replacing the old-fashioned heroine we 
had to dig into the more vivid sort of literature. The producers 
began to look around to see 
what people were doing 
when they were not in the 
theatre, and they found they 
were reading stories. The 
writers had been keeping 
abreast of the times. The 
theatre had clung too long to 
its tradition. Then came a 
vogue for the book-play. 
This gave the theatre a lit- 
erary uplift. In dramatiz- 
ing the book the theatre gave 
new heroes and heroines. 

Personally, I must say, the 
book-play did not appeal to 
me so much. A good deal 
of the first-hand subtlety of 
human nature was lost in 
the welding process of 
printed fiction to the breath 
and life of the stage. I had 
always lived close to the 
heart-beats of men and 
women. It was like trying 
to make a painted swan 
curve his neck like a real 
one, or to give a property 
bird the illusion of wings 
that would make it really fly. 

The essence of success in 




a theatrical production, 1 have always believed, 
lies in its surprises. All lives have their moments 
of importance, and they are the thrills the dy- 
namic emotion. Why they happen, and how they 
come about, is realistic 
drama. With an accu- 
mulated knowledge of 
what should not be done 
in the theatre, I have 
always found more than 
I could use, of things 
that could be done. The 
province of literature is entirely outside 
the province of the theatre. Of course, 
I can speak only of my own dramatic 
views, with which some have differed. 

I believe in the play that deals with 
life in its moments of importance, in a 
crisis of emotion. It is strange, that life 
in its most prosaic moods is always ex- 
posed to them. Emotional feeling comes 
unexpected, swiftly, with an after-ef- 
fect that startles us with some new wis- 
dom. We have learned something we 
never dreamed of in some unexpected emotional experience. 
These were things which I tried to apply to my productions. To 
meet the progress of current psychology rather than adapt the 
meaning of current events has been my chief industry. 

I knew that the heart of the wanton had all the humanity of 
all women, but that her life was obviously full of dramatic con- 
trast. She was an heroic figure. She was an heroic figure to the 
crowd that looked on, and followed the surprises of her emo- 
tional experiences. I knew that in most women's lives the horror 
of temptation had been secretly fought, and that they would 




"The limitations of the actor and actress are the only hindrance to the realism of the future" 



THE THEATRE MAGAZINE 




understand the thrill 
dramatic conflict. 

Then, too, I knew that most women 
are spiritually redeemed, and that here 
was material for a suggestion of the 
beauty of a soul that had been dragged 
through the mud triumphantly restored 
to the peace that passeth all under- 
standing. 

Long before these two plays in which 
I had visualized these facts had made 
their success, long before the production 
of "The Heart of Maryland," my 
dramatic purpose had broken away from 
stage tradition. My productions were 
modern pictures of modern life. My 
aim has always been to find the dramatic 
material of the future, even if it led 
me to the edge of a rainbow. It has 
often done this, for intuition is a master 
one must not disobey. 

Nearly everything I have selected for 
dramatic production has been chosen 
under the spell of intuition. An instinct 
for the theme that is uppermost in the 
world's progress is no credit to the in- 
dividual, because it is a gift. I realized 
long ago that an era of new dramatic 
material would surely arrive. I felt that 
before long we of the theatre, would 
reach up and touch the rainbow of 
human aspiration at their best, at the 
intangible line that divides the natural 
from the supernatural. 

Within the past few years we have 
been reading a great deal about these 
mystic themes which involve our emo- 
tion. For the realism of the future T 
have always found my inspiration in 
magazines and books. Preferably, the 
magazines, because they have popular- 
ized psychology, not only in this coun- I>hotosWhit 
try, but all over the world. I watch 
and read a great deal, and so I search 
for a dramatic crystal. A new play is the final result of my 
intuition for the universal theme of interest. 

As the past has accomplished its evolution of progress in the 
theatre logically, so the realism of the future is arriving. The 
evolution was crude enough at first, then startling, and now, 
to-day, we are on the threshold of a theatre that is adapting 
itself to the spiritual and supernatural. 

If we can dramatize the present, as I believe we should, let 



Anna Wi-ml 




Beatrice Allen 

HOUR ATTRACTIVE PLAYERS NOW APPEARING 

IN "Z1EGFELD FOLLIES" 



us dramatize the most absorbing, the 
most prophetic events of our lives, 
especially those which concern the ban- 
ishment of evil, and which establish the 
eternity of spirit. Not that I believe in 
limiting the theatre to one theme, to 
one formula of dramatic material, be- 
cause that would narrow the tremendous 
scope of the stage. There is always 
room for the big play, whether the 
theme is finance, or divorce, or religion, 
or of the passion. There is room even 
for the big burlesque, if it is the best. 
Fur myself, I am interested chiefly in 
the idea that is on the horizon, in the 
problems of the soul, for they are the 
most compelling facts of the present. 

There are so many of them, too, that 
the man who is looking for the new play 
must use his utmost intelligence to keep 
up with them. It has been my habit to 
carry a theme for a play in sub-con- 
scious darkness for some time IK- fore it 
is molded into dramatic form. Time 
was when we in the theatre were all 
looking for new plots. It seemed then, 
that the triangles of human emotion, the 
rule of love divided among three, would 
be an endless calculation for the dram- 
atist. This idea soon outgrew its 
dramatic usefulness, because it is no 
longer a problem to the world, it is 
merely a symptom of an irritating con- 
dition. The plot is secondary, the idea 
is the whole of the play. Preferably it 
must be the new idea. 

1 have sometimes thought that the 
essence of life is in its mystery. The 
things that happen are not always done 
through our own cleverness, but through 
an influence we have not yet discovered. 
A play is only a bit of life, and yet it 
contains all of life as we live it. There 
is the supernatural in almost every event, 
no matter how prosaic the incident. We are growing nearer to 
the supernatural consciousness, which is the next step in stage 
realism of the future. 

I remember when I produced "The Darling of the Gods." with 
Mr. Long, we often discussed this question in my studio. In 
this play the first direct appeal to the supernatural perceptions 
of the public was made. I was very much in doubt whether the 
theatre could accomplish this appeal, whether it would be 



,ma llanuUun, Freddie Nice, Charles !><- Haven 



Lik'hts and Shadows, danced by <- ross 



(leorgc Le Main- 



Lois Josephine and Wellington I 





am ." 


Mollie King as "PeK o' My Heart" 




Photos White On the steps .of the Capu,: 

ES IN "THE PASSING SHOW OF 1913' 



THE W, N TE 



THE THEATRE MAGAZINE 



understood, whether the poetry of a supernatural tableau would 
be received in a spirit of reverence. However, it was an incident 
in the play which represented part of the Japanese religion. It 
belonged there and it made a profound impression. I refer to 
the apotheosis of the play, its final scene. 

And there is another way by which the realism of the future 
in the theatre will be revealed. By searching in the magazines 
and the newspapers, and the everlasting output of the printing 
press, one may find the unusual theme, but, as 1 said, there is 
another way, which is quite beyond any reasonable calculation. 
In my own experiences I have been unable sometimes to justify 
my selection oi a theme. I only know that there is a dormitory 
for ideas, where they sleep quietly as long as they please, and 
when they awake they drag me with intense energy to the stage. 
Where they find lodgment, or how long they sleep, is immaterial. 
They are the whisperings of new thought that fill the air, the 
unspoken truth, seeking definite form. 

Whenever I try to solve this mystery of how I find myself 
producing a certain sort of play, I think of that wonderful 
picture of Elihu Vedder, the well-known 
American painter. He tried to give 
form to an idea that was vague, but 
deeply rooted in the human heart; the 
idea of spiritual eternity. His picture 
represents two figures. They are there 
in a mist, a vapor, a place between earth 
and heaven. 

One says, "When did you 
come?" 

The other replies, "I only 
died last night." 

To-day some of us are try- 
ing in the theatre to do what 
Elihu Vedder did, to give 



It is the poetic 
adaptation of na- 
ture that must 
absorb the pro- 
ducer of stage 
pictures. Though 
his canvas is 
limited it is no 
more so than the 
painter's canvas. 
Beyond the mar- 
gin of a miniature 
the whole world 
can be seen, if the 
miniature is faith- 
ful. It is easier to 
produce an effect 
in a circus, or 
upon a huge stage, 






Matzene MARGARET ILLINGTON 

Playing Mary Turner in "Within the Law" 



Moflett 



JULIAN L'ESTRANGE 
To appear in Ferenc Molnar's new comedy 

substance and 
logic to the un- 
known, to make a 
forecast of the in- 
evitable. This. I 
think, is the high- 
est purpose of art, 
to prove that 
poetry as well as 
prose, may serve 
the interests of in- 
formation in fact. 
We are too often 
inclined to neglect 
the reason of 
poetry, and yet, all 
nature is its justi- 
fication. 



Moffett 

PAMELA GAYTHORNE 

Lately seen in "Our Wives" 

than it is in the proscenium 
of a regular theatre. The 
language of stage lighting is 
the language of the poets that 
commands the sun, the stars, 
the sea and sky to speak. 
So much that is kind and compli- 
mentary has been said about the lighting 
of my productions that I have always 
been greatly encouraged to devote my 
utmost efforts in that direction. If the 
successful results of my light effects 
were merely a matter of mechanical in- 
vention, they would be adaptable to any 
theatre, but they are not. There are 

always distinguished copyists who can feel the artistic duty of 
an original picture when it is before them, but the original paint- 
ing still retains its singular identity. In a much lesser degree, 
the lighting of each new scene I have produced is a new and 
original picture that retains its identity once 1 have painted it. 
My process of producing light effects bears the same relation 
to the stage that the painter bears to his canvas. 

I have often sat in an orchestra seat at rehearsal and painted 
a moonlight scene from my recollections of an actual one. I have 
directed the distribution of light and color on the canvas as a 
painter manipulates his colors, shading here, brightening there, 
till the effect was complete. It was all done at one sitting for 
the first time, but I could never repaint that picture. Once I 
had worked out the lighting of a scene, sticking at it sometimes 
till I was almost blind ; there are no changes afterward. 
Mechanism completes it, but the inspiration of a few hours 
makes it. 

In this way the artist keeps (Continued on page ix) 




Photo Harris and Ewing 



MISS GENEVIEVE HAMPER 

Now leading woman with Robert Mantell, and to play the part of 
Prince Arthur in Mr. Mantell's forthcoming production of "King John" 



IT was bound to hap- 
pen. Tartarin, almost 
the last brain child 

born to that gentle and exquisite writer, Alphonse Daudet (last, 
it would seem, of the Frenchmen to remember the delicate, 
sparkling, clevei French of their ancestors), could not be kept 
off the stage indefinitely. As the craze for adaptations, drama- 
tizations, etc., has not spared Paris while it swept like a devastat- 
ing wave over the rest of the world, the surprise is that this 
great and immortal incarnation of the French genius delayed his 
appearance until the close of the season of 1913. To be definite, 
Tartarin of Tarascon Tartarin on the Alps made his debut on 
the stage of the Porte-Saint-Martin Theatre in Paris at the 
fag end of the theatrical season. August heats which almost 
cerlainly would have killed any other creation for the theatre 
nursed Tartarin tenderly and forced his growth. A Meridional, 
this stifling heat was his native climate and he waxed big and 
strong while yet in his swaddling clothes. This is the same as 
saying that Leo Marches' picturesque comedy in five acts and 
seven tableaux, entitled "Tartarin stir les Alpes," was a tremen- 
dous success, and that is the fact, however it is expressed. 

The new play it is more of a spectacle than a "picturesque 
comedy" is admirably adapted to the Summer season. The 
very title is refreshing, and people in Paris who cannot afford to 
go to the Alps were delighted to see them transported to a 
corner of the boulevard. With a sweep or two of the scene- 
painter's brush and there is Mont lilanc within reach of every 
purse. To wait until everybody was gasping with the heat and 
then show a snow-crowned mountain deserves to be called an 
inspiration. Staging "Tartarin" could not have been easy; the 
results have justified the efforts required, for since the play began 
the Parisians have literally feted their popular hero in his new 
stage dress. 

From a purely dramatic point of view this famous romance 
of Daudet's scarcely gains by a scenic adaptation. Of the two 
Tarascons, Tartarin dc Tarascon, and Tartarin sur les Alpcs, the 
first only has movement, spontaneity ; its verve is fresh and never 
tiring. It must have been composed in an irresistable inspiration. 
Daudet was but the amanuensis who set down the dictations of 
his inflamed imagination. T'.ut the books written in sequel to this 
great success, seem to have been "willed" their pen is medi- 
tated. They show not effort, perhaps, but application. Their 
author counts in advance on effects which he has tried out se- 
curely in the first volume. Like nearly every great author before 
him who yielded to the clamor of his readers for "more," Daudet 
proved that books of character, brimful of sparkle cannot be 
written to order. It might seem strange if this criticism were 
absolute, that the adaptor should choose to dramatize a sequel 
and not go to the original fount. P>ut it isn't strange, for the 
very good reason that a play is not a book and "Tartarin sur les 
Alpes" offers more material for dramatic contrast and physical 
spectacle than the mirth-pro- 
voking chronicle of the sleepy 
little village of Tarascon. If 
one remembers the book at all 
and seeks defects in the play 
by means of comparison they 
are easily found. Indeed, they 
are comprehended in one short 
sentence that the exploits of 
the hero as shown, are more 
serious than they appear in 
Daudet's book. It was by his 
comments, by his irony, by all 
his asides, just and spiritual 
that Daudet, like Dickens, 
created an atmosphere of 
gayety, of good humor and 
sometimes very often in the 
case of the Englishman, of sentiment. These delicate shades 
vanish in the brutal light of the footlights. Take, for example, 
the episode "either rice or prunes" in "Tartarin sur les Alpes." 




GOLDEN LAUREL WREATH PRESENTED TO BERNHARDT 

This wreath, designed by Paul Gillot, was presented to Mme. Bernhardt, on May Kith 
last at the Palace Theatre, by members of the dramatic profession. The following 
are a few of the artists who subscribed to it: George Arliss, Etliel Barrymore. 
Lotta M. Crabtree, William Faversham, Mrs. Fiske, Virginia Harned, Robert 
Milliard, Margiret Anglin, E. H. Sothern and Julia M,-rlowe, Otis Skinner, Robert 
Mantell and Lillian Nordica 



When Tarascon refuses 
both these desserts (in the 
book) you can appreciate 

the astonishment of the guests at the Swiss hotel, who are 
divided into the prune party and the rice party. The incident in 
the book has savor. Tartarin becomes an enigmatical personage 
by reason of this double refusal. In the play this episode has 
been preserved Tartarin is offered successively prunes and 
rice, but the short scene fails to "get over," because it clears up 
nothing. It will prob;.bly be dropped if the play finds its wav 
bcre. 

As a spectacle to repeat the ne*w play is richly interesting 
and presents some novel pictures. These are, as they should be, 
merely the background for the boasting, Jying, grandiloquent, 
naif and timid Tartarin. Its essential, then, is an actor capable 
of being Tartarin. He must be Daudet's hero, actual, authentic, 
unique, full of gayety, fantasy, warmth and delicacy. Parisians 
claim that they recognize all these qualities in M. Vilbert, who 
has won, in consequence, an additional step or two on the 
theatrical ladder. The French recognize Tartarin as a true 
Gallic type, exactly as they see another type of the race in the 
immortal Cyrano. To have pleased them by his Tartarin elevates 
Vilbert quite near to the position held by the lamented Coquelin. 
One of the scenes of the play shows Tartarin prepared to 
face the Czar in order to win the hand of Sonia, who is a Nihilist 
and an exile. This scene is played on the terrace of the Jung- 
frau hotel in front of the Grindelwald glacier. Sonia's com- 
panions. Menilof and P>olibine, have enticed a disguised police 
spy away from the terrace and are about to avenge themselves. 
Tartarin scents danger and inquires of Sonia : 

TARTARIN: What's happened? What are they going to do? He has a 
ferocious air. 

SONIA: Feroeious ! How little you know Manilof. He is the gentle-;: 
of men. 

TARTARIN: But he caused you have told me the explosion in the 
Winter Palace. Many killed? 
SONIA (sadly) : Too many. 

TARTARIN: It is always so. Innocent victims! 

SONIA : Yes, it is horrible. I do not believe in murders en masse the 
one you seek always escapes. The true procedure, the most humane and 
the surest is to go straight to the Czar as you would go to a lion, armed, 
determined, post yourself at a window or at a carriage door, and when 
he passes pan ! 

TARTARIN (not enthusiastic) : Yes . . . but certainly perhaps, but to 
murder a. man you don't know, whom you've never met he may be a 
good fellow, too to murder him in cold blood is an atrocious thing eh '-. 
SONIA: (relates instances of tyranny and oppression in Russia and con- 
cludes by asking) : Do you believe that the tyrant who orders such cruel- 
ties is worthy of pity? 

TARTARIN: That would be saying a good deal. But, after all, what 
good is accomplished by killing him? After that tyrant another will come, 
and another and another. And the years will pass quickly will fly the 
days of youth and love 

SONIA (smiling): You make me laugh despite myself; you are so 
funny when you talk of love! 

TARTARIN (taking her hand) : 

Ah, Sonia, if you would 

SottiA.^(freeing herself) : I re- 
peat what I told you. I can only 
love the man who will deliver my 
country. Were he as ugly as Boli- 
bine, ruder and coarser than Mani- 
lof I would become his wife live 
by his side, tend him, freely, gladly 
as long as life endured, or he 
wanted me. 

TARTARIN (again snatches her 
hand) : That would be always al- 
ways Sonia, at Tarascon. 

SONIA : Then if you wish me 
win me ! 

TARTARIN (proudly) : I will, yes. 
I will ! It is an affair now, between 
me and the Czar ! 

SONIA: Truly you will do this 
for me? 

TARTARIN : I will seek the Czar I shall not hide myself in shadow, 
I shall not strike without warning ! No, I will provoke him to a duel. 

SONIA : A duel ! How foolish. You will be arrested, imprisoned be- 
fore you get anywhere near him. (Continued on fai/c .\- ) 



JULIA SANDERSON had never been interviewed. It was 
explained that Miss Sanderson did not feel that her per- 
sonality was of sufficient interest to the public to justify the 
ordeal. Therefore, this becomes the first interview which she 
has ever given, an event in theatrical history that has its im- 
portance. 

In her boudoir-dressing-room at the Knickerbocker Theatre, 
in New York, where she is playing a long season in "The Sun- 
shine Girl," Miss Sanderson had decided to do the best she 
could with the new task put upon her. It was a charming room, 
white, with roses everywhere, an ingenue's room. Looking like 
the prettiest girl one could wish to meet, but with an air of 
supreme timidity, she received the interviewer. Taking the 
situation, which was new to her, with the utmost ceremony and 
seriousness, Miss Sanderson presented a rather for- 
midable task, because she was so entirely unprepared 
for anything so dreadful. The subject did not appeal 
to her, she said, because modesty in her performances 
had been a matter of instinct ; therefore, it was very 
difficult for her to tell anybody how she happened to 
convey so much of it. The truth of this was easily 
recognizable at a glance. She has violet 
eyes, such as only Lily Langtry, the 
English beauty has, and her smile is 
modesty itself. 

Listening with polite attention to the 
interviewer's requests, that she define 
why stage modesty should prevail in musical comedy, 
she finally expressed her sympathy for him in the 
following question : 

"It must be difficult to interview someone who is 
a perfect stranger," she said. 

"It requires some imagination," replied the inter- 
viewer, "but how much more of it is needed in your 
own work?" 

"Yes, but we have people to help us on the stage, 
and you have to do it all alone." 

"All alone," replied the interviewer helplessly, and 
then wondering why, for the first time, he was non- 
plussed by a Broadway star. 

By degrees she told him that she had never taken 
a lesson in either singing or dancing. 

"I am almost ashamed to say this, because I realize 
that I ought to have done so, but I have never been 
able to find the time." 

Here was realism in stage modesty that would be 
hard to duplicate. 

"You see, I became a star very quickly; I was 
very fortunate, wasn't I?" said the young lady, 
hastening to explain herself frankly and freely. 

"( 'an any woman do it ?" demanded the interviewer. 
"You know, of course," he persisted, "that you represent that 
most illusive charm in the theatre stage modesty?" 

The actress smiled dubiously. 

It had never occurred to her before, that there was anything 
ever required of an actress that could offend her or her 
audience. 

"My father is an actor," she said, "and when I was very, very 
young, I was on the stage playing 'sympathetic parts.' Before 
I was out of short skirts I was playing The Wronged Heroine' 
of melodrama. Perhaps it is a happy incident of my young 
girlhood that I learned all about the desperate deeds of heavy 
villains, and learned to realize that there may be heroes who 
come to the rescue of 'wronged heroines' in the nick of time. 
How many times I have been saved from some fearful disaster 
in my melodramatic experience on the stage I couldn't say. 
My youth was doubtless the principal appeal for sympathy to 
the audiences who witnessed my rescue. 

"Most of the stage villains who pursued me in these melo- 



Copyright 11)13, Charles Frolmian 
JULIA SANDERSON 
In "The Sunshine Girl" 



dramas were hard-working young men. Some of them had 
families of their own to support. All of them lived lives of un- 
impeachable modesty, off the stage. 

"As to the heroes, I wish I could say as much for them. They 
were not always as modest as the villains." 

It was, no doubt, unpardonable that the interviewer, listening 
obediently to this brief sketch of Miss Sanderson's career as a 
child actress regarded her with a sceptical eye and a serious 
air of deep concern. 

"And you have never found it necessary to cut out the lines 
of a song, in musical comedy, because you thought them im- 
modest?" he asked. 

The brutality of his question had not occurred to him till Miss 
Sanderson's confusion made him realize it. Her smile grew 
more radiant, but she found it difficult to speak. 

"Must I tell you?" she asked appealingly, and then 
with a little shrug of her shoulders as if she felt the 
cold chill of a shower upon them, she said : 

"Only once in my career in musical comedy have I 
ever found it difficult to interpret the words of a song 
put in by the author because, well because they did 
not fit me. I tried very hard awfully 
hard to adapt myself to the comedy idea 
of the song." 

"Perhaps, after all, it wasn't funny?" 
"Oh, no, the song was all right except- 
ing one line, and I always stumbled over 
it at rehearsal." 
"What was the line?'' 

"For the life of me, I cannot remember it. I re- 
call, however, that it was a little too suggestive to 
suit me, and it actually hurt so much that whenever 
I came to this line at rehearsals 1 almost went to 
pieces. 

"At first it seemed very foolish, and I tried to 
overcome my feelings against it> but the harder I 
tried the more impossible it became." 

"I am so sorry you cannot remember the line," 
persisted the interviewer. 

"So am I ; but all I can remember about it is 
that it was like saying something that wasn't nice 
something that no young girl would think of saying. 
So I went to the manager and asked him if he 
wouldn't be good enough to cut that song out. Well, 
he was perfectly charming about it. He seemed to 
quite understand my aversion and did as I wished. 

"If he had not clone this, I know I should have 
been an awful failure, just on account of one stupid 
line." 

"But, wasn't it really funny?" insisted the inter- 
viewer, and Miss Sandersqn declared that as the 
confession had been unwillingly dragged from her, she would 
say no more about it. Brushing away all reserve, the interviewer 
went straight to the heart of his subject with this direct question: 
"It is the way a thing is said, is it not, that makes it possible 
or impossible to stage modesty?" 

"I have never really analyzed my work in any way before," 
said Miss Sanderson, "whatever I have had to do in a musical 
play, to sing or to dance, I have always done in my own way, 
to the best of my ability. I have really gone no deeper into a 
characterization than to carry out the plans of the author and 
the stage manager. In fact, I have never been asked to speak a 
line, or sing a song that wasn't perfectly charming, and that any 
girl wouldn't have been delighted to do. Of course, with the 
one exception which I have mentioned. Perhaps this exception 
would have been considered funny, just as the humor of the 
janitor may amuse some people. I think there are some things 
done on the stage by very clever actresses which I admit I am 
not clever enough to do myself. It is not stage modesty entirely 





94 THE THEATRE MAGAZINE 

which prevented me from speaking a line which I found objec- 



tionable. I could not say or do, either on the stage or off it, 
anything which I didn't think was nice. And yet, 1 have been 
an actress from the time I was a child." 



"I admit, there are some parts in musical comedy, and many 
kinds of musical plays in which I could not appear," said Miss 
Sanderson, "simply because I think I am not clever enough to 
do the suggestive thing well. I think it requires the highest 



When you were in the chorus, did you have the same ideas ?" possible skill and technique to say and do things on the stage 



asked the interviewer. 

His obstinancy clearly disturbed Miss 
Sanderson, but she amiably tried to assist 
him. 

"My first experience in musical comedy," 
she said, "was in the chorus of a piece 
called 'Winsome Winnie,' and after I had 



that are not quite nice in themselves, but 
are immensely pleasing to some audiences. 
I am not sure whether I am a comedienne, 
but I have been fortunately cast for parts 
that are ingenue. 

"The true object of all artistic effort, 
should be to contribute to beautiful 



SAM B. HARDY 
Appearing in "Stop Thief" 




GRACE 
To be seen shortly 



CLARENCE OLIVER 
Appearing in ''Broadway Jones" 

been there for a short time I was given the 
understudy for the part played by Paula 
Edwardes. I was not a novice, and I was 
wrapped in my ambition and hard work. 
One's stage associations really don't make 
any difference if you are very happy and Mishkin 
\oung enough to know little of the world, 
and feel quite sure of yourself. 

"Mv home with my father and mother was very happy, and I 
always go to theatre strictly in a business mood. Subsequently, 
I succeeded Paula Edwardes in the part she had played, and the 
following season I was cast in that beautiful, idealistic produc- 
tion, 'The Arcadians.' My experience in the chorus was very 
short, and I am quite sure that it made no unpleasant impressions 
upon me. I was too busy studying the possibility of a future 
career in musical comedy to think of anything but my work and 
my success. 

"Still, there is probably no kind of stage work in which per- 
sonality means so much as in musical comedy. Beauty is not 
enough, because the musical shows have many beauties in them. 
I believe that any girl of average intelligence has a very definite 
instinct of discretion, and being on the stage should not inter- 
fere with her character. In my own case, whatever I have to 
do in the theatre has never been anything that I did not wish 
to do. That is to say, I have never had to pretend to be anything 
on the stage than just a young girl who likes nice things nicely 
done. I have a great many admirers among little girls who are 
unknown to me. They write me the most lovely letters from 
all over the country, even from places I have never been to. I 
am very careful to answer these letters, and to send them my 
photograph, when they ask for it." 

All this Miss Sanderson told the interviewer in explanation of 
certain reasons why stage modesty should prevail in musical 
comedy. lie even pointed out instances where it did not. He 
mentioned the names of men and women in current successes of 
the season, whose performances had not succeeded because of 
their prevailing modesty. 



FILKINS 

in "The Love Leash 



thought, to inspire refinement, to please 
people with nice things and nice ideas. 
Vulgarity is always ugly, and while it may 
make people laugh for the moment, it is 
only temporary amusement. After all, the 
things that we enjoy most are the things 
that inspire us with lasting memory. A 
pretty picture has the artist's tin night in it 
to inspire us, but a pretty woman without refinement, contributes 
nothing to our pleasure. 

"In musical comedy a beautiful voice in itself is nut so inspir- 
ing as a beautiful song conveyed to us with simplicity, ami 
above all, with sincerity. There has been an impression that 
musical comedy should be a mixture of questionable farce. Only 
recent productions, some of them, have shown us the charm and 
refinement which these entertainments can present in a \\ ay 
that is quite impossible in any other stage form. 

"W r hen I am forced to consider myself among the 'stars' of 
musical comedy, I realize my limitation compared to the talents 
of so many others. Whatever the future may have in store for 
me, I know that it would be quite impossible to be like some of 
my contemporaries whose beauty and cleverness so far surpass 
my own. Of course, in 'The Sunshine Girl,' I am merely a very 
small part of a big show. There is so much of everything in it. 
that I feel lost sometimes in the whirl of scenes. There is really 
nothing for me to do but sing the songs I have as well as I can, 
and to dance about the stage as gracefully as I know how. There 
is no great histrionic strain put upon me in my work, and so 
long as I am appearing in the ingenue roles of musical comedy, 
I shall have to impress my youthful personality upon the public, 
just as it is. 

"I have really had no schooling for it. and what degree of 
good taste 1 may have inherited, must remain the prevailing 
quality of my work." 

"Then it is true, that you are really very young?'' asked the 
obstinate man. 

"I will be perfectly frank with (Continued on page vi) 



THE THEATRE MAGAZINE 




Sarony 



OLIVE WYNDHAM 
This popular actress appeared last season in "What Happened to Mary" 




Moffett THAIS MAGRANE Baker Art nancr y HERBERT DELMORE 

Recently seen in the title role of "Everywoman" Appearing as Alan Wilson in "The High Road" 



White ADELINE OTONNOR 

Who plays the leading feminine role in "The Master Min.l" 



th- 



ea 



th- 



ANEW thing has come up in dramatics in connection with 
realism, and it is hard to say how long it will be before 
audiences become violent over it. It is the food and 
drink question on the stage. Playwrights in other years delib- 
erately avoided putting reality behind the footlights on the ground 
that people had enough of it all day. In these times, however, 
when audiences go to the theatre to relive rather than to vary 
the day's experience, playwrights have responded to this demand 
in the most vigorous fashion. They have followed the public's 
every footstep to learn its habits, and finding that it eats and 
drinks in large ways every few hours and in small ways every 
ten minutes, this fact is faithfully submitted in all plays now 
offered. 

The result is that no modern theatre is complete unless it is 
fitted up behind the scenes with a kitchenette and a bar, while 
the chef who cooks the stage meals is the busiest man in the 
company. 

The actors show their appreciation, of course, and while they 
toy with the lobster a la Xewburgh and drink sparkling draughts 
of sunniest champagne, the hungry audience looks on in silent 
pain. Between the acts the spectators are 
offered cleansed water in germ-proof "cupper 
papes," as the excitable lady who tried to catch 
a \\ater-boy on the wing, called them. 

To watch most modern plays is, indeed, like 
paying to feast at a shadow banquet. The 
table is laid and course after course is brought 
in. It all looks admirable. Wine bottles are 
opened and glasses are carefully filled. Fifteen 
hundred eyes out in the dark auditorium watch 
the cool Burgundy meet its doom. 

Take, for instance, William Collier's play, 
"Never Say Die," which ate its way through 
several months at the Forty-eighth Street The- 
atre last winter. There were three acts in that 
and three meals. The first was afternoon tea, 
the second an elaborate dinner and the last 
breakfast. No one can deny that the leading 
actor in this melange had gastronomic courage, 
nor can anyone fail to think sympathetically of 
the chef laboring like a hero over a gas stove 
out in the wings throughout the length and 
breadth of eight performances a week. 

Stories came from behind the scenes that Mr. 
Collier and his associates had declared for onlv 

Unity 







the best stage food, especially for the dinner in the second act. 
The lobster a la Newburgh had to be freshly cooked, served 
steaming hot and flavored with truffles. The asparagus had to 
be tips, not stalks, and the champagne of a vintage not later than 
1890. The odors of this toothsome feast were wafted over the 
footlights into the very nostrils of the envious, and in many cases 
hungry audiences, and as for the starving critics on the first night 
it is doubtful if they paid a proper attention to Mr. Collier's 
table technique or to the insouciant poise of Paula Marr's fork 
as she raised the asparagus tips one by one to her little lips. 
Certainly none of them mentioned these matters in their reviews. 
Yet, what more important in the play ? 

It is not everyone who realizes how important this matter of 
eating has become in the theatre of to-day. Stage food used to 
be regarded as a "property," and as such to be supplied by the 
property man. But when the matter began to evolve into course 
meals with hot dishes, the property man and his assistant, the 
stage-door cat, found themselves out of their depth, and a new 
arrangement had to be made. 

At the Forty-eighth Street Theatre last winter the student of 
things culinary would have found almost more 
entertainment behind the scenes than in the 
auditorium. In a room set apart for a kitchen 
was a complete outfit : stove, utensils, running 
water, dishes and all necessary details. There 
stood the chef in cap and gown, or however a 
chef's costume might be described. A case of 
live lobsters just delivered from the fish store 
stood in the corner. Fresh vegetables lay on 
the table ; eggs, butter and meat were in the 
refrigerator, while a bottle of champagne nes- 
tled in the cracked ice in a silver cooler. An 
attractive smell of dinner being got ready per- 
meated the place, and to give the final touch of 
pleasant domesticity, the stage-door cat, having 
found a better outlook than the dry companion- 
ship of "props," was curled patiently and with 
a futurist expression on the mat. 

Although it was the chef's duty to shop for 
and cook the dinners, breakfasts and teas it 
was, unfortunately for the audience, not his 
part to serve them. But whether a waiter or a 
real actor was engaged to pass the dishes is not 
known, although if one were to judge from his 
personal interest in the food the signs would 






VERA DE ROSA 
Seen as Sybil Vandare in "The Firefly" 



JOSE COLLINS 
This popular actress is now appearing in the "Ziegfeld Follies" at the New Amsterdam Theatre 




Ttt THEATRE MAGAZINE 



point to his having been an actor. If one did not realize in any 
other way the importance of food in the theatre o'f to-day a 
sight like this behind scenes would surely make the facts plain. 
But everyone does realize it, for al- 
though it is shown incidentally during 
the course of the modern drama that 
father is a brute, that mother has a 
lover or that James and Susan are to 
be married after all, the real moment 
of the evening is when Susan is de- 
ciding whether she will have one lump 
or two in her tea. 

No New York theatregoer can fail 
to beat in sympathy with the actors at 
that charming place in the drama where 
afternoon tea is announced, nor can he 
miss the thrill of the pleasant burble 
of conversation which breaks loose 
among the drawing-room company 
when the tea things are wheeled in. 
And any habitue of the theatre can 
recall offhand the telling lines which 
follow : 

"May I pour you a cup of tea?" 

"Yes, if you please." 

"One lump or two?" asks the well-tailored leading man. 

"One. if you please," smirks the selfrconscious heroine. 

"And lemon?" 

"Thank you." 

Food has become so necessary in plays that it has even gone 
into musical comedy where it used to be that only wine, woman 
and song were essential. One of the season's unfortunate 




Sarony 



RITA JOLIVKT 
Who will appear in the new Ferenc Molnar comedy 



fact that the leading waltz song, sung by the principals, was 
about Irish stew. 

"At home tlicv never give me any Irish stem," sang the heroine 
plaintively. 

And at the duet both sang while in- 
dulging in a romantic embrace, 
"At home they never give her any Irish 

stew, 
Irish steii. 1 and some potato." 

Meanwhile a steaming bowl of the 
delightful stuff stood on the table be- 
side them. 

If one goes over the list carefully it 
will soon appear that there has been 
hardly a play this year without its food 
and drink scenes. Even the "Whip" 
had its banquet, while everyone re- 
members the generous importance of 
the subject in "The Governor's Lady." 
Never before, perhaps, has a whole act 
been given over to reproducing Amer- 
ica's most characteristic ideas about 
eating. 

Did the realists mean this when they 
preached realism on the stage ? I 'er- 
haps it is merely a striking proof of the fact that a preacher is in 
the hands of his hearers. 

But how about the audiences? 

Perhaps the reason why so many are dropping the theatre and 
going to cabarets instead is because at the cabarets for no more 
money they get the same quantity of music, drama and clothes. 
but have the privilege of eating the food themselves instead of 



productions (now in storage) was indeed almost saved by the having to watch the actors eat it. 



C. I. D. 



AT Brattle Hall, in Cambridge, Mass., recently, Shakespeare's 
"Comedy of Errors" was produced by the Delta Upsilon 
Fraternity of Harvard University. 

Brattle Hall is a small building used for dances and amateur 
theatricals ; a building in which the Harvard Dramatic Club has 
always presented its plays. It has a stage of fair size, indiffer- 
ently equipped, and it would not, therefore, seem a place of 
especial importance in the theatrical 
world. Nor would the annual Eliza- 
bethan revival of the Delta Upsilon, 
despite its honorable record of fourteen 
well-chosen plays, seem an event of un- 
usual interest among theatrical affairs. 
But what makes the occasion worthy of 
more than passing mention and of real 
significance is that for the first time in 
this country a Shakespearean play was 
produced after the new manner of con- 
tinental Europe, the method used at 
Munich, and by Gordon Craig in his pro- 
ductions at St. Petersburg. 

This new art of producing aims at 
simplicity in settings and seeks to stim- 
ulate the imagination by suggestion 
rather than by hampering it with details. 
Among the pioneers in this movement 
there are radical differences of opinion, 
but upon one general principle they are 
all agreed Reinhart, Craig, Stanislav- 
sky the elimination of all that is not 
essential to the creation of illusion. 

Nowhere in this country, perhaps, is 
there deeper interest felt, nor is there 
more intelligent discussion of this new 




FRANCIS POWELL 

Coach and stage director of the Harvard Dramatic Club 

who, says a Boston critic, deserves credit for making the 

first production in America of Shakespeare along the new 

German lines of imagination, originality and beauty. 



movement in dramatic production than in Cambridge, for Cam- 
bridge is a veritable hotbed of dramatic interest. Nearly every- 
one in Cambridge either writes plays or acts plays or talks plays. 
So, after all, it is not a surprising thing, perhaps, that the first 
step in the new direction should be taken there, nor that the 
members of this organization should have led the way. 

The selection of the play was partly a matter of choice and 
partly a matter of luck. The "Comedy 
of Errors" with its classic setting ant! 
rapidly changing scenes seemed an in- 
teresting subject for experimental treat- 
ment. Here were color, line, even pure 
design perhaps. Here, also, was the 
necessity for brief waits between the 
scenes if the continuity of the story was 
not to be lost. So much for the element 
of choice. These alone would have been 
sufficient reasons for deciding on this 
play, but by a lucky coincidence there 
happened to be in the Fraternity real 
twins, so much alike in looks and voice- 
that often in rehearsal the cast were 
puzzled as to their identity. Of course, 
the twins settled the matter and the play 
was chosen. 

In considering the production I de- 
termined at once that the painted per- 
spective drop with all of its shortcomings 
could be eliminated. Here, to begin 
with, was a decided gain. It meant that 
the long-suffering audience would no 
longer be obliged to see the Ephesian 
Temple of Diana nicely painted on the 
back drop, dwarfed by the actors 



THE THEATRE MAGAZINE 



99 



whenever their business carried them up stage. Nor was this 
the only gain. No more would the painted buildings shake and 
tremble as the actors hurried by to make their entrances. As a 
substitute the blue cyclorama drop was chosen (the German 
cupola horizon not having yet reached Cambridge). Against 
this background of turquoise blue, marble buildings of chaste 
design were placed at either side of the stage. In these, con- 
ventional bronze doors were placed, serving as entrances for all 
exterior scenes. Here was a mollification of the conventional 
di mi-way in the gray wings at either side of the stage, used by 
Mr. Urban in his very charming settings at the Boston Opera 
llmise. Between the marble doorways against the blue of the 
sky was placed the changing scene. 

The notes of trumpets sound, the curtains open, and we see 
tlu' Duke surrounded by his guard and officers listening to 
.Kgcan's tale. The scene consists of purple velvet draperies 
with an opening at the right, through which is seen a narrow 
strip of sky and wall. The sunlight streaming in, glistens upon 
the breastplates of the guard and makes of the group about the 
Duke a splotch of gold upon the purple background, while in the 
shadows opposite (for no footlights were used) the armor of 
the guard catches the reflected light and shimmers with a dusky 
glow. All very simple but suggestive of authority. /Egean's 
story told, the curtains close and the draperies are taken up. 

Again the curtains open and we see 'The Mart." Against the 
sky is a quay with a ship at anchor, its red sail unfurled. Broad 
moss-grown steps lead to the quay between high weather-beaten 
walls, and here Antipholus, of Syracuse, arrives in Ephesus. 

The next scene shows a room in Adriana's house. Here 
Luciana lounges on a gilded couch while Adriana fumes, their 
costumes of lavender and pale green showing against rich velvet 
draperies of gold, and bathed in amber sunlight streaming 
through the parted opening from the "Public Place" outside. 

The only decoration was a gilded Grecian lamp, but this 
proved quite enough. The shadows in the velvet draperies fur- 
nished a fitting background for Adriana's jealousy. 

Now we come "Before the House of Antipholus of Ephesus." 
The walls have been reversed and now they lead up to a peristyle 
with pinkish marble colonnade and seat that match the marble 
of the doors and walls. A row of dark Lombardy poplars com- 
pletes the scene. 

The last scene shifts the moss-grown walls lead to an arched 
gatewa\ with bright red swinging gates, topped with a gilded 
cro>.s. Here is a "Priory." 

To sum up then two sets of draperies, a marble seat, two 
houses of conventional design, a couch, a tripod lamp, four 
strips of wall (painted on either side), a profile ship, a colonnade, 
three profile trees, a platform and two steps (these also painted 
on either side) all of this with a cyclorama drop and the pro- 
duction is complete. 

Costumes suggested by the late Edwin Abbey's illustrations 
of the play, copied and colored under my direction by Gardner 
Hale, a Harvard student (whose plates and models of scenes 
were of great assistance in my work), lent charming color to 
the scene. 

One other element remains the lighting and on this too 
much stress cannot be laid. This was done with one aim con- 
stantlv in view the lights to fall from one direction and to be 
reflected by the surfaces they struck. Another cardinal prin- 
cipal was that shadows were to be utilized, not dissipated. They 
have their value in the scene. The footlights were rarely used 
except to light the neutral gray draperies which framed the scene. 
These replaced the usual "tormentor" and "straight drapery'' of 
the past. 

Is it too much to believe that with the "tormentor" and 
"straight drapery" will go many of the traditions and features 
of the theatre of to-day, or shall T say the theatre of yesterday? 

Surelv by the elimination of useless detail long waits can be 
avoided, the entire text of the author given and the story allowed 
to unfold itself without distracting influences. The eye is satis 



fied, the imagination quickened, and one is tempted to feel that 
after all, the elaborate detail of the past was a hindrance, rather 
than a help, and more and more we are inclined to feel that the 
suggestive treatment in stage production has come to stay. 

FRANCIS POWKI.I.. 

According to statistics for the year 1913 the total amount paid for 
admission to Paris theatres and amusement resorts was over $13,000,000. 
One moving picture house alone took in $300,000. The largest receipts 
at any single place were $600,000, taken at the Opera House. 







Copyright, Sarony PAULINE FREDERICK 

To appear again this season as Zulcika in "Joseph and His Brethren" 



White 



H I L I P H. 

THOLOMAE 

sents " 

This line, written above the announcement of a new drama and 
an old star, would quite recently have appeared almost fantastic- 
ally odd to the play-going populace. Until now the theatre-going 
public has known Philip H. Bartholomae simply as one of the 
most successful of our younger playwrights as the author of 
"Over Night," a farce-comedy ranking with the most popular of 
recent years, and of "Little Miss Brown," its almost equally 
triumphant successor. And playgoers 
are not yet accustomed to having its 
dramatists simultaneously its theatrical 
managers. 

But Mr. Bartholomae is rather reck- 
lessly inconsiderate of accustomed or- 
ders. He is a young man fascinatingly 
impregnated with that glamourous temer- 
ity from out which romances are woven. 
Unless all signs fail in most remarkable 
fashion, therefore, "Philip H. Bartholo- 
mae presents " will shortly become as 
familiar a theatrical introduction as any 
one of the half score other names the 
public is now wont to see sponsoring 
the tragedies and comedies, the melo- 
dramas and farces, the musical comedies 
and problem plays, paraded forth for its 
edification. 

For the experimental stage of the 
undertaking has been bridged in in- 
credibly brief space. To-day with the 
musical comedy "When Dreams Come 
True' 1 already on Broadway and a three- 
act drama from a new playwright al- 
ready in rehearsal for this season, Mr. 
Bartholomae sits in a charming little 
brown-walled sanctum set with wicker furniture of a soothing 
green, preparing contracts, considering booking-lists, and gen- 
erally demonstrating that he has definitely taken his place in that 
select little coterie of producing managers who shape the 
dramatic destinies of America. 

"I'd felt it coming on for a long time," he confesses. "Really, 
I tried to fight against it, but it was no use. I'm afraid the thing 
was inevitable from the start." 

The actual beginning of his foray into this field, however, 
came, as things inevitable and fore-ordained are so apt to, quite 
abruptly. It was one afternoon last fall. Mr. Bartholomae 
had dropped into a vaudeville theatre with the wholesome intent 
of simply idling away an hour or two. From the artificial dusk 
of the orchestra he watched languidly while "act" succeeded 
"act" across the calcium-tinted brilliance of the stage. The per- 
formance neared its close. People who did not intend remaining 
for the moving pictures began collecting their wraps, and that 
subdued buzz against which the final, lesser items of a vaudeville 
bill are forced to contend filled the house. Then suddenly a 
short, swarthy young man appeared before the curtain with a 
violin. No one seemed to be paying any very special attention 
to the tuneful little airs and nimble little dances of this young 
man, but in spite of that stereotyped indifference in the face 
of it, in our defiance to it the innate showman latent in Philip 
Bartholomae then and there awoke. The vision of a spectacle 
had for him woven itself about that young man and his melody. 
Rising swiftly, he made his way to the stage 'entrance and 
sought him out. For a long hour he talked earnestly to him. 
Something like a week later that young man signed a contract 
to appear under the management of Philip H. Bartholomae at a 
salary of three hundred dollars a week. Thus, dynamically, it 
was that Mr. Bartholomae became a producer and, incidentally, 
that Saranoff, "The Violinist," leaped from an obscure place 
nearly to the "top of the bill." With the act his new manager 
constructed for him he would have gone quite to the top had it 




PHILIP H. BARTHOLOMAE 



Author of the farce, "Over Night," the profits of which gave 
iiim the opportunity to become a successful theatrical producer 



everything I've done. 



not been that Mme. 
Sarah Bernhardt, in 
choosing the acts she 
deemed worthy to appear on the same bill with herself, selected 
Saranoff among others, so forcing him into second place. 

Far from satisfying him, that auspicious start served merely 
to whet Mr. Bartholomae's desire. Almost immediately he wrote 
and himself produced a one-act play called, "And They Lived 
Happily Ever After." This, too, Mme. Bernhardt saw and chose 
to have included in the entertainment of which she made part. 
Subsequently it received wider public 
notice than any recent addition of 
vaudeville's repertory and Mr. Bar- 
tholomae began to look afield for larger 
conquests. Through the newspapers he 
sent out notice rash man ! that he 
was prepared to read with a view to 
production dramas from any unknown 
playwright. At the same time he set 
to work on the book and lyrics of his 
musical comedy. Now he plans to 
have three or four productions before 
the public next season and is conducting 
negotiations for the purchase of a 
theatre. 

The whole proceeding partakes rather 
of the nature of a fairy-tale. In quick 
certainty of ascension its match would 
be difficult to find in modern theatrical 
annals. It is one of those fabulous 
Arabian Nights wonders in w h i c h 
moderns permit themselves to indulge 
only in the realm of business. 

"And yet," says Mr. Bartholomae, 
"romantic and specially protected as I 
realize it must seem, there was really no 
luck in it. I worked worked hard for 
If I've got on faster than most people 
I fancy it's simply because I've known better than most people 
just what I was working for. You see, there happens to be a 
streak of common sense in me that serves as a corrective and 
guide to my artistic inclinations." 

To that streak of common sense and the far-seeing, dauntless 
persistence in which it manifests itself is attributable every stage 
of this young man's seemingly miraculous rise. People pro- 
claimed him extremely lucky when three years ago "Over Night" 
the first play of an unknown writer scored its emphatic hit 
and brought him into sudden prominence. As a matter of fact, 
that hit was wrought out of the sheer will-power of the author. 
It was the turning-point in his career the crucial test in which 
all of himself, his ideals, and his nature were epitomized. Never 
did a dramatic offering seem more completely and irrevocably 
consecrated to failure. 

It was written while Mr. Bartholomae was still an under- 
graduate at the Rensaellaer Polytechnic Institute at Troy, N. Y. 
Wisely and carefully he worked it over and polished it before 
sending it forth to the marts for barter. But, like most ulti- 
mately successful plays, it speedily acquired the distinction of 
having been rejected by nearly every manager on Broadway. 
Some of them rejected it with qualifications and talk of "thor- 
oughly rewriting it," to be sure but they did reject it. Then, at 
length, a certain manager said that it was impossible to judge 
accurately of a play in which so much depended upon stage man- 
agement and "business," but that if he could see it in actual per- 
formance he thought it was very probable he could buy it. 

That was quite the most encouraging reception Mr. Bartholo- 
mae had encountered, and his hopes soared. By offering to put 
up half the necessary money he finally persuaded a firm of pro- 
ducers to book "Over Night" for a limited tour through some of 
the smaller towns of New York State. They kept assuring him. 
however, that such a proceeding was altogether opposed to their 
usual practice, and maintaining generally a very tepid attitude 



The opening scene In the steerage of the S. S. Kaiser 



Marie Flynn and Joseph Santle 



Joseph Santley as Kean Hedges 



Joseph Santley and Marie Flynn 




Joseph Santley singing "The Dream Song" Anna Wheaton and the bridesmaids and flower girls 

SCENES IN "WHEN DREAMS COME TRUE," AT THE LYRIC THEATRE 



THE THEATRE MAGAZINE 



102 

in the affair. At last, with rehearsals fairly under way, they 
decided that they had made a mistake. They coolly informed him 
that they really could not go any further in the matter. 

By every canon of dramatic lore this was the proper juncture 
for 'Mr. Bartholomae to own defeat and start writing another 
play. But his faith in "Over Night" was intense. He never 
doubted that once that interested manager witnessed it he would 




achieve the golden dream of all aspiring playwrights, a Broadway 
production. So he kept the company at rehearsal, scraped to- 
gether the rest of the requisite capital, and at last one omits 
the incidental perspiration, fears, labors and heartaches had the 
satisfaction of seeing "Over Night" heralded in scarlet type from 
the billboards. 

He waited until the first performance had been consummated 
to make sure that all would run smoothly, then he went to sum- 
mon his prospective manager. But it so happened that that 
particular manager had been called South on business a few days 
before and was not expected back for a month. 

In crises of supreme despair people do not stop to count their 
anguish. They could not bear it if they did. Mr. Bartholomae 
had recourse to that safest of all solaces action. Wildly he 
rushed about town in quest of some manager any manager 
who would come to see his play. The managers, though, were all 
excessively busy that week. He had come as near to giving up 
hope as is possible for him when chance relented by throwing 
George Brcadhurst in his way. Somehow a playwright did not 
seem to the author of "Over Night" quite such an august, im- 
placable a creature as a manager. He pressed an orchestra seat 
check upon Mr. Broadhurst, therefore, and bore him off. Mr. 
Broadhurst returned enthusiastic. 

"In my opinion that play '11 make a hit," he told William A. 
Brady. "It's a winner. If I were you I'd buy it." 

So Mr. Bartholomae was sent for, and then, oh, then, at last 
was vouchsafed to him that sweetest of all theatrical spectacles, 
a manager making terms. Mr. Bartholomae was modest in that 
triumph. He expressed himself as perfectly willing to accept 
the regular royalty arrangement, but he did believe, he declared, 
that he should first have an initial payment sufficient to reimburse 
him for what he had spent personally on the "try-out." 

"That's certainly fair enough," agreed Mr. Brady. "How 
much is it ?" 

"Five thousand dollars." 

That amount was paid over on the spot, and. after a brief 
preliminary tour the piece was brought into New York. By 
rights this should be the conventional happy climax, with naught 
remaining but for the daring young author to rise in the morn- 
ing and ascertain in approved fashion that fame was his. T<> 
tell the truth, Mr. Bartholomae was rather preparing himself 
for something of the sort. But he had yet to learn the full ex- 
tent of the drama's versatile range of perversity. On the eve- 
ning when "Over Night" opened at the Hackett Theatre five other 
premieres were simultaneously occurring in other New York 
playhouses. They were all the work of better known authors ; 
they all introduced better known stars. 

So the morning on which Mr. Bartholomae should have 
woke to his fame found extended criticisms of all these plays 
in the newspapers, and of "Over Night" a grudging admis- 
sion in far, obscure corners that such a production was in town. 
During the first few days of its run less than a hundred paid 
admissions were recorded at the box office. 

"It's too bad," declared Mr. Brady. "It's a good farce, all 
right, but there's no chance for it here now. It's snowed under, 
that's all. We'll have to put it out on the road and see if it can 
do anything there without the New York boost." 

But Mr. Bartholomae's faith was just as strong as ever. His 
determination was rather stronger. Then it was that he rose to 
his supreme height of audacity that he proved the instinct of 
the showman to have been born in his soul. 
"It's got to catch on !" he cried. 

He still had the five thousand dollars which had formed Mr. 
Brady's cash payment. 

"Let me buy a producing interest in the play," he begged, "so 
that the responsibility'll be my own, then give me two weeks 
and let me see what I can do." 

After some parley Brady consented, perhaps more out of 
sentiment than anything else. 

Mr. Bartholomae's first move was (Continued on page vii) 



Strauss-Peyton 



HATT1E WILLIAMS 
Appearing with Richard Carle in "The Doll Girl" 



Sarotiy 




Th 



MARTHA HEDMAN 

lis young Swedish actress, who made her first appearance in this country as Renee tie Rould in "The Attack," will be seen as John 

in Augustus Thomas' new play, "Indian Summer" 



Mason's leading lady 








White 



JANE GREY 
To appear shortly in Edgar Selwyn's farce, "Nearly Married" 



(Continued from our last issue) 



Three months elapsed, when the whole administration of the 
Vaudeville changed hands; Carvalho resigned his position and 
was replaced by Cormon. All this happened so suddenly that I 
was like one stunned when I received the letter summoning me 
to the theatre, where a meeting was to be held. 

When all were assembled, Cormon told us that the extrava- 
gantly large company of the Vaudeville was causing the theatre 
great losses, that the play then on the boards was an assured 
success, that it would run at least a year and that, therefore, all 
idle members were requested to tender their resignation. I did 
not hear anything more. I did not listen to his promises for the 
future ; I ran home. My little paradise became a den of despair ! 
Copyright, 1913, by Marie Micliailoff 



Without warning, without notice, I had lost everything. I fell on 
my knees and prayed God for death, for I did not see how I could 
stand such a blow. That night 1 fell asleep with tears running 
down my cheeks. 

The next morning the concierge knocked at my door as usual 
and brought me a large letter; the envelope was yellow, I re- 
member it well, a business envelope. With eyes half open, I 
glanced at the corner and saw the words : 

"Briet, Agent Dramatique." 

I read the letter and jumped out of bed with a cry of joy. Mr. 
Briet inquired if I were at liberty to go to Antwerp for a month 
to play "La Dame aux Camelias," "La Princesse Georges," and 
two or three other parts for a salary of one thousand francs. 
One thousand francs! It was Pactolus flowing into my room 
and, like "Perrette" in La Fontaine's fable, a hundred projects 
succeeded one another in my mind. I kissed my dear concierge, 
a good old woman, who seemed to be an angel sent from heaven 
I dressed in a hurry and rushed to the agency, where I found 
Mr. Briet. I was to leave at once. I packed my trunk and 
started for Antwerp, where I met with a reception that made me 
forget all my past sorrow. After a month of continued success 
I returned to Psris, once more happy and hopeful. 

On my arrival I found a letter from Albert Delpit, asking me 
to call at the Theatre Historique, where he was rehearsing his 
play of ''Les Chevaliers de la Patrie," a drama founded on the 
war of the rebellion. The beautiful Celine Montaland was cast 
for the leading part. But the play was not a success; after a 
month it was withdrawn. 

At that time they were rehearsing at the Ambigu a drama 
called ''La Venus de Gordes," by Adolphe Belot. A friend of 
mine, Madame Picard, invited me to go with her to the rehearsal, 
hoping that I might find an opportunity for an engagement. As 
we entered, Mile. Meyer, a woman of great beauty, but not 
much experience, was on the stage. At some suggestion of the 
author she flew in a rage, threw down her part, and with her 
hair falling down her shoulders she paced the stage like a lioness, 
calling Belot by every name. "Poor girl!" I thought, "that fit 
of passion will cost her her position." Judge of my surprise 
when Belot, approaching us, said in tones of admiration : "Isn't 
she beautiful ! Isn't she splendid ! Magnificent ! What a tem- 
perament !" I was thunderstruck, and I thought that if tearing 
and swearing were signs of temperament, decidedly I had none. 

That scene had so depressed me that for a week I could not 
get over it. Very soon, however, my spirits rose again, the blues 
vanished, and I started once more in search of an engagement 
determined that if within a month I had not found a good one 
I should bid farewell to the stage and take up again my musical 
studies, which had been interrupted by my dramatic work. 

One day, crossing the Place du Chatelet, I heard some one 
calling me. I looked and saw M. Leotaud, stage manager of 
the Comedie Franchise, all out of breath, running after me. 

"We are going to make a tour of France," he said, "with 
Alexandre Dumas' TEtrangere' ; I have someone for the part of 
Sarah, but have not found anyone suitable for the part of Croiz- 
ette. Alexandre Dumas has mentioned you and for the last 
week I have done nothing but inquire for you. No one could 
give me your address, and I was going to give up all hope 
when I saw you. Now, that chance has brought you to me, you 
are not going to refuse. You will have two weeks rehearsals, 
and we will open at Versailles." 

"All right ! I will go !" We shook hands and the contract 
was signed. 

Our company was most genial. Alice Chene, who played the 
difficult part of Sarah, was the most charming companion one 
could wish for. She was very beautiful and resembled so much 
the pictures of Marie Antoinette that we used to call her by 
that name only. With all her physical attractions she had not 
a particle of conceit and seemed quite unconscious of her beauty. 
She was a pupil of the famous Madame Plessy, of the Comedie 
Franchise, and though talented was without ambition. Home 
life was all she cared for and after our tour she married the man 
she loved and left the stage. 



nun 



Th. 



aft the L mi ga<s ir THaeaftir 




Thomas A., Wise 



ACT III. THE NKW MAID SHOWS THE COUPLE HOW TO MAKE GOO-GOO EYES 



Alice Gal. 




Alice Gale Thomas A. Wise 

ACT III. "WHERE WAS MOSES WHEN THE LIGHT WENT OUT?" 



Thi"iias A. Wise Alice Gale 

ACT. III. THE PARSON READS THE INSCRIPTION INSIDE THE RINGS 



io6 



THE THEATRE MAGAZINE 




Photo Ira I.. II 



VIVIAN RUSHMORE 
Who was recently seen in "The Lady of the Slipper" 



We played in every large city : Lyons, Marseilles, Toulouse, etc., 
making pilgrimages at every place of interest. At Chambery 
we arrived at six o'clock in the evening. We had hardly time 
to take supper, hut I did not care. I knew that there, at the 
top of the hill, overlooking the beautiful lake of Annecy, was 
"Les Charmettes," the cottage of Madame de Warens, immor- 
talized by Jean Jacques Rousseau. Not for the world would 
I have lost the opportunity of visiting that cottage ; I told the 
company where I was going and added: "Qui in' aimc me suive." 
All followed me and we were amply repaid, not only by the sight 
of the cottage, but by the beauties of nature as well. The sun 
was just bidding farewell to the world and its last rays were 
lingering on the waters of the lake as we came down the hill. 
Ah ! No wonder the love of nature filled the heart of Jean 
Jacques, if such was the spectacle his eyes beheld every day. 

We returned with hearts overflowing with enthusiasm. We 
had no supper, of course, but if our stomachs were empty, our 
souls were filled with poetry and for once the mind got the better 
of matter. 

At Caen we arrived in the midst of a storm ; the rain was 



pouring in torrents. At the station I asked 
a driver for the house of Charlotte Cordav. 
"It is half a mile from here." 
"Take me to it," I said. 
"But there is nothing to see," he answered 
in amazement. 

"Never mind, let us go," and we went. 
When I arrived I looked at that big green 
door with its inscription above and as I read 
her name, the vision of that brave, noble, 
sublime girl passed before me ! Ah ! Char- 
lotte Corclay ! Thy memory will live forever 
in the hearts of all lovers of justice and 
enemies of oppression and tyranny. 

I had not been on the road three weeks 
when I received a letter offering me an en- 
gagement for the Imperial Theatre in St. 
Petersburg. At Havre several people con- 
nected with the Imperial Theatre of Russia 
had seen me in "1'Etrangere" and had written 
to Baron Kiister, the official director of the 
Court Theatre, advising him to engage me. 
I was offered thirty-five thousand francs a 
year, with four months holiday. I would 
have accepted at once, but a member of the 
company who had lived in Russia, advised me 
not to do so without the stipulation of a bene- 
fit, telling me that it meant at least five thou- 
sand francs more. I did as he told me and 
waited a fortnight for the answer. At last it 
came. A large document, headed with the 
Russian coat-of-arms and below, the sum stip- 
ulated and the right of a benefit. Everyone 
shared in my joy and I continued my tour 
with a light and hopeful heart. 

Nice, Cannes, Grasse we visited all these 
flower-gardens of France, and our successful 
tour closed about the fifteenth of August. On 
my return to Paris I went at once to see Baron 
Kiister, who told me that 1 would make my 
debut in "La Dame aux Camelias" and 
"Adrienne Lecouvreur.'' 

On the first of September I left my beauti- 
ful sunny France for Russia. I travelled 
through France, Belgium, Germany, but at 
the Russian frontier I thought I was lost I 
did not know a word of the language; fortu- 
nately, I found some officials who spoke 
French perfectly and to them I showed my 
passport, thinking that that would be the end 
of all trouble. Alas ! They emptied my trunks to the bottom, 
shook every one of my dresses, without any regard for laces or 
trimmings, for those vandals respect nothing and their smiles 
broadened as my indignation grew stronger. 

After a ride of twenty-four hours more I arrived in St. 
Petersburg. It was five o'clock in the evening. As we landed, 
fifty moujiks with long robes, long hair and long beards sur- 
rounded the passengers. They were Isvoschiks (drivers). They 
drove me nearly crazy with their noise ; I was at a loss to know 
what to do, when a man, with the appearance of an employee, 
approached me and asked in broken French, if I were Mademoi- 
selle Rhea. I answered "Yes." "Come," he said, and without 
explanation I followed him, too happy to escape from that crowd. 
He took me to a carriage, jumped on the box next to the coach- 
man and drove off. I began to realize the singularity of im- 
position. Who was that man ? How did he know me ? Who 
had sent him to meet me ? His honest face, however, reassured 
me and I felt that everything would be all right. We drove 
along the Nevsky Prospect and very soon we arrived at Place 
Michel, where the carriage stopped before a large house. As I 



THE THEATRE MAGAZINE 



107 



entered I was greeted, to my great surprise, 
by a gentleman and his wife, whom I had 
known in Paris and who, being aware of my 
coming, had taken it upon themselves to se- 
cure an apartment for me in the house where 
they were living, and not knowing the clay of 
my arrival, had sent Ivan, the callboy of the 
theatre, to the station every day for the last 
week. After an introduction to the landlady 
1 immediately took possession of my apart- 
ment, which was large, elegant and comfort- 
able. I felt more than grateful to my Parisian 
friends for their kindness. 

I had a week to myself before rehearsals 
began and I spent that time in visiting the 
magnificent city of the Czars. The Winter 
Palace, the dwelling of the Emperor, the 
quays of the Neva, with their gorgeous marble 
palaces, the church of Kazan, that of Isaac, 
with its massive bronze portals, its columns of 
lapis, onyx and malachite, the Ermitage, with 
its world-renowned paintings and statuary 
and there, on the opposite side of the river, 
the little house built by Peter the Great, the 
founder of this glorious city. 

The exterior of the Theatre Michel, where 
I was soon to make my debut, is very plain. 
Looking at the building one would hardly think 
it is a playhouse. The interior is quite as re- 
markable for its simplicity, but everything is 
in perfect taste. The auditorium is in white 
and gold. The boxes, of which there are three 
tiers, are very spacious. In the lower and first 
tier sit the elite of the nobility, wealth and 
beauty. The parquet is occupied by the mili- 
tary and the great financiers ; the proscenium 
boxes, by the Emperor and all the members 
of the Imperial household ; the rest of the 
house by the boiirgeoisie/which consists main- 
ly of shopkeepers, mostly French. The ward- 
robe of the Theatre Michel is, I think, the 
most extensive and the most costly in the 
world. The costumes are kept in the upper 
story of the building. Some of them are 
simply priceless and a great many are authen- 
tic. Every actor has a right to select among 
these relics and reproductions of the past 
whatever costumes he wants when the play 
requires it. The only dresses to be furnished 
are the modern ones. Carriages are at the 
disposal of the actors to take them to and from the theatre. 

The company had arrived and rehearsals of "Camille" began 
at once. 1 was the only new actress and I came, not precisely to 
replace, but to take some of the parts played by Mesdames Pasca 
and Delaporte, two great favorites, not only artistically, but 
socially. Of course, all eyes were on me, which made me feel 
rather uncomfortable, especially as my Armand Duval, who was 
also a new member, had played the part in Paris with nearly 
every noted Camille and kept saying: "Mile. X. did so and so, 
Mile. Y. did so and so." At last, Mr. Luguet, the stage manager, 
put a stop to those disagreeable interruptions, by saying rather 
sharply: "Never mind Mile. So and So; Mile. Rhea will play 
the part as she feels it.' 

The night of my debut arrived. How shall I describe my 
feelings? Only actresses who have faced an audience, whose 
verdict means life or death to them, will be able to appreciate 
what I felt. The house was crowded by a representative audi- 
ence, although the Imperial family were still in Gatchina or some 
other country seat from which they never returned before No- 
vember. 




Gould & Marsden 



Now 



MOLLIE KING 
appearing in "The Passing Show of 1913" at the Winter Garden 

As I stood iii the wings waiting for my cue I saw a great 
many old members of the company, who were not on the bill, 
watching me closely, and I heard Mile. Maucourt, the prettiest 
and the most renowned for her taste, exclaim : "Dieu ! Qu'ell? 
est chic!" My gown pleased; on that point at least I was satis- 
fied. It was of black velvet, decolletee, with a very long train. 
An immense garland of camelias, of every color and shade, fell 
from the right shoulder to the left side of the skirt where it 
caught up the dress with a huge bunch of camelias, while some 
branches were drooping to the hem of the skirt. The effect was 
very striking. 

Now for the acting. My reception was most cordial . . . and 
when the curtain fell on the first act, I was confident that I had 
made a good impression and that Armand, who was very self- 
possessed, had also made a very favorable one ; but on his second 
entrance in the next act, I do not know why. he entered like a 
hurricane. This sent a titter through the audience. He heard it, 
and from that moment he lost all self-control; and that man, who 
was really a splendid actor, became the victim of his nervousness 
and was hissed unmercifully before the second act was over. I 



io8 



THE THEATRE MAGAZINE 



had now the responsibility of 
the play on my shoulders and 
I did my best to save myself. 
Two enthusiastic calls proved 
that my efforts were success- 
ful. During the fourth act, I 
hoped Armand would retrieve 
himself, and once more renew 
the good impressidn he had 
made in the beginning, But; al- 
though he played admirably, 
the public was merciless, and 
when the curtain rose and 1 
appeared with him, cries of 
'Rhea, alone ! Rhea, alone !" 
was all that could be heard. 
Then I appeared alone and six 
times the curtain was raised, 
amidst cheers and bravos. This, 
of course, made me feel very 
proud, but not happy, for I 
could understand the feelings 
of my poor Armand. How- 
ever, he was not a novice, he 
had a record of successes and 
even triumphs that made him 
look with a philosophical eye 
at this bad turn of fortune and 
without any bitterness, he fin- 
ished the play, hoping probably 
that the next performance 
would obliterate the recollec- 
tion of this one ; but, whenever 
he appeared after this memor- 
able night, which was very 
seldom, the public showed that 
it had not forgotten. 

My next debut was in "Ad- 
rienne Lecouvreur." and I am 
glad to say that the success I 
had achieved in "Camilla" was 
more confirmed by the rendi- 
tion of that sympathetic part. 
From that day, the older mem- 
bers of the company, who were 
very conservative and who 
kept a little aloof, until my suc- 
cess was assured, were the first 
to congratulate me, and my 
friendship, for some of them, 
has lasted until this day. 

Life in Russia is very soci- 
able. The company being very 
large, the work was light and 
the long intervals of rest we 
enjoyed were not without dan- 
ger and might even have 
proved fatal, had we not had, 
to stimulate our energy, that great incentive vanity. The fear 
of being outshone by our sister artists, was the lash of the whip 
needed to spur us on. This was legitimate pride. 

In my five years' sojourn in Russia, I played at least fifty dif- 
ferent parts. I was at my best in characters that require dash, 
and vivacity. Long before I thought of studying English. I was 
called upon to play an American, a charming woman, but full 
of eccentricities. Two or three days before the performance, 
the comedian, Mr. Raynard. asked me why 1 did not plav it 
with an accent, as the part had made a great hit in Paris on that 
account. Although I had never done anything of the kind, 1 
tried it. The effect was amazing, and that part, which, played as 




Photo Joel Feder 



LOUISE WOODS 
As the bride in the amusing farce, "Stop Thief" 



it was written, would have been, 
if not altogether insignificant, 
still not of great importance, 
became the prominent one of 
the play. This proves that 
success often depends on a 
mere trifle. 

As we played only four 
times a week, the intervening 
days between the performances 
were generally devoted to giv- 
ing dinners or attending them. 
At those dinners, we met not 
only the company, but cele- 
brated people in the world of 
letters and of the nobility. 
Every day, from four to six, 
each actress held a sort of "at 
home." These receptions gave 
birth to little "coteries," which 
were not without piquancy. 
Each had her followers and the 
day of her benefit, these fol- 
lowers outdid each other, to 
show their appreciation to the 
object of their special admira- 
tion. Not only magnificent 
bouquets were thrown at her 
feet, but most costly presents 
of silverware, gold, diamonds. 
were lavished upon her, for the 
Russians are, without excep- 
tion, the most generous people 
living. 

But of all, a farewell benefit 
is one of the most interesting 
sights one can witness. One 
is entitled to it, after twenty- 
five years' service. The bene- 
ficiary receives a pension from 
the crown and the Emperor 
usually decorates him as a 
token of his esteem and appre- 
ciation. I had the good fortune 
of being present at the one 
tendered to Madame Lagrange. 
the ingenue, who, although 
forty-five years of age and a 
grandmother, had retained all 
the freshness and sweetness of 
youth. She was petite, blonde, 
with laughing eyes and an ex- 
pression of innocence and in- 
genuousness so fascinating that 
it had insured her position in 
spite of years and intrigues. 
Madame Lagrange came to 
Russia when she was twenty 
years old and the Czar had for her such regard, esteem and ad- 
miration that when he met her on his morning walks, he useJ to 
say: "I will be lucky to-day; I have seen my good angel." And 
she was an angel of innocence, goodness, virtue and devotion. 

The day of her farewell benefit, when she appeared on the 
stage, at least three hundred bunches of roses fell at her feet 
amidst cheers and storms of applause, while her eyes were filled 
with tears through which shone smiles of gratitude and love. 
After each act, she received call after call, and numerous pres- 
ents were handed to her over the footliehts. It was a genuine 
demonstration, for she was the idol of the public. 

(To be continued next month} 



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{Continued- from page 94) 



you,' 1 she said, without the flicker of an eyelash, 
"I am twenty-three years old." 
"I thought you were younger," said the man. 
"That is the nicest thing you have said this 
evening," said this Broadway star. 

"Would you object to singing a really comic 
song?" asked the man. 

"While my sense of humor is not entirely de- 
ficient," said Miss Sanderson, "I sincerely hope 
that I shall not become a 'stage comic.' I know, 
at any rate, I would never be clever enough, and 
discretion is one of my virtues. In fact, too 
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trick, because I am really young and I have al- 
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"Most of my time away from the theatre is 
spent in the open air. I go to all the baseball 
games I possibly can for the excitement and 
fresh air. One forgets the crowds in the pleasure 
of watching the game. Then, too, I am very 
fond of tennis when the weather makes it possible. 
Outside of the theatre my life is very normal 
and untheatrical. Our family is very small. It 
consists of my father and mother and myself; 
my only brother died some time ago. Being an 
only child, they make a great deal of me at 
home, and we have the happiest time, just we 
three together." 

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vii 



The Youngest Stage Magnate 

(Continued from page 102) 



to guarantee the rent of the Hackett Theatre 
for two weeks to its owners, the Shuberts. Then 
he took up his headquarters there, and, with his 
back against the wall, battled for life. He was 
manager, stage director, treasurer and press 
agent, all in one press agent above all else. Every 
device known and unknown for the lure of the 
public he employed during those frenzied days. 
But the people who in response shortly began to 
trickle into the Hackett Theatre had no intima- 
tion that they were drawn thither simply by the 
magnetic urge of an unseen, unsung playwright's 
determination, beating out across the city in 
psychic waves of compelling insistance. They 
did not guess it then, nor has it ever been made 
generally known since. It sounds almost too 
bizarre. Yet such was the case. 

Finally the critics condescended to put in their 
appearances, and soon their columns began to 
overflow with ecstatically flattering novices. Be- 
fore the week was out, ''Over Night" had lived 
down its title. All the town was talking of it 
while outside the theatre an "S. R. O." sign ap- 
pears. "Seats selling six weeks in advance." In 
his fortnight of grace Mr. Bartholomae not only 
cleared expenses, but again recovered his five 
thousand dollars and started the play fairly on 
its tumultuously successful run. 

"But," he confides, "I lived and endured more 
in that fortnight than most people do in a year 
I sweated blood. And" he smiles whimsically 
"they call it luck!" 

When the Forty-eighth Street Theatre was 
building m New York Mr. Bartholomae utilized 
some of his profits from "Over Night" to acquire 
a quarter interest in it. Here he was initiated 
I further into the mysteries of producing, and 
when his second play, "Little Miss Brown," was 
ready he attended himself to practically every 
detail. So he has really proved in advance his 
fitness for the managerial office he has under- 
taken. As such an experienced authority as 
William A. Brady puts it, "Bartholomae's a born 
showman." 

Perhaps that sums up the man better than 
anything else could. In both his plays the 
writer has been largely subservient to the show- 
manthe being who sees life not so much in 
character and conversation as in situations. 
The Violinist," the vehicle with which he pro- 
vided Saranoff, is really nothing but a triumph 
of astute stage management, while the same is 
true, in a somewhat different sense, of "And 
They Lived Happily Ever After." Even in 
childhood he evinced his instinct. The enter- 
tainments he was tireless in arranging for his 
sisters and playmates were by no means the 
usual trifling mimicries of children. In them 
Philip Bartholomae oftentimes achieved really 
amazing realism. He foreshadowed his future. 

His parents, however, looked with extreme 
disfavor upon all symptoms of the sort. They 
were people of large means by way of variety, 
it is a great pleasure to be able to say as much 
of a successful playwright; but, then, Mr. Bar- 
tholomae will go to any extreme for the sake of 
originality. It was their intention that he should 
be a civil engineer and fill a definite and lucrative 
post they had in view. Dutifully he went 
through the necessary course of instruction for 
this, "just to show them," as he explains, "that 
I could be an engineer if I wanted to." But all 
the while he dreamed of writing for the stage, 
and to train himself therefor he secretly wrote 
several one-act plays. His people would give 
him no money for any theatrical venture, but 
out of his allowance, which was a liberal one, 
he contrived to save five hundred dollars. With 
this he went, during one summer vacation, to 
Washington, D. C, where Charlotte Walker at 
the time happened to be heading a stock com- 
pany. That company needed money and Mr. 
Bartholomae put in his five hundred dollars with 
the understanding that he should be allowed to 
browse around the theatre to his heart's content. 
He wanted to study the business of play-making 
in all its phases and ramifications. It was part 
of his painstaking, provident judgment his 
"common sense," as he likes to call it. He never 
tires of dwelling upon the practical value that 
summer's experience proved to him. When he 
returned to his studies at the Rensselaer Poly- 
technic Institute it was to devote all his spare 
time to the composition of "Over Night," with 
an insight into theatrical needs such as few bud- 
ding playwrights ever take the trouble to acquire. 

"You see," he says with one of his singularly 
engaging smiles, "there's really nothing at all 
interesting about me outside of my theatrical 
exploits." 

(Continued on page ix) 





The Merger of East and West 

"But there is neither East nor West, Border, nor Breed, nor Birth, 
When two strongmen stand face to face, tho ' they come from the ends of the earth!'* 

KIPLING. 



In the "Ballad of East and West," 
Kipling tells the story of an Indian 
border bandit pursued to his hiding 
place in the hills by an English 
colonel's son. 

These men were of different 
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them friends. 

In this country, before the days 
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VIII 



THE THEATRE MAGAZINE ADVERTISER 




"The Revue of 1912" 



""HE SET of two handsomely bound 
volumes, containing the twelve num- 
bers of the Theatre Magazine issued 
dunng 1912, is now ready. 

A complete record in picture and text of the 
theatrical season of the past year. 

It contains over 720 pages, colored plates, 1 500 
engravings, notable articles of timely interest, 
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and the wonderfully colored covers which appeared 
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The following Volumes are still sold separately : 

Year of The Theatre for 1902 Price, $18.00 

" 1904 " 12.00 

" " 1905 " 10.00 

" 1906 " 9.00 

" " 1907 " 8.00 

" 1908 " 7.00 

" 1909 2 vols. " 7.00 

"1910 2 vols. " 7.00 

" 1911 2 vols. " 6.50 




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THE THEATRE MAGAZINE ADVERTISER 



IX 



For it honestly never occurs to him that the 
personality which made those exploits possible is 
by far the most interesting thing about him. 

He is still well under thirty. For almost any- 
one else of equal youth to attempt what he is 
now attempting would be pitiable lunacy. But 
that is just why success for him appears in- 
evitable. Even the legions whose favorite amuse- 
ment it is to hail with derisive laughter every 
new aspirant to a theatrical manager's throne is 
respectfully silent before the advent of Philip E. 
Bartholomae. They know him as one whom 
Success has claimed for her own. And of all 
mistresses Success is notoriously the most faith- 
ful especially where such a persistent, intrepid 
lover as Mr. Bartholomae is concerned. 

BELDEN LEE. 



Stage Realism of the Future 

(Continued from page UO) 



pace with realism. Moonlight has been seen by 
a million eyes, in thousands of years, but, each 
moonlit night has been a new moment to some- 
one, a new inspiration of love and happiness. 

The golden rule for the realism of the future 
on the stage is truth. There is as much truth 
in the supernatural as there is in the natural, 
but it may be more difficult to express. I am 
inclined to believe that the expression of super- 
natural truth, is in itself, a supernatural mes- 
sage to the artist, and I say this from a logic of 
experience. 

"The Return of Peter Grimm," for instance, 
is a play that grew out of supernatural causes. 
I was told over and over again, that I could not 
sustain the ghost-like illusion of the stage, with- 
out using the traditional green light and wax- 
white stage figure. But, I saw it in a way that 
nobody else could see it, and I have wondered 
how these pictures of what I have never seen 
with my eyes, came so vividly before me. 

Who gave me this supernatural vision? Who 
told me how to give in "The Return of Peter 
Grimm" so plain a message of comfort to the 
bereaved ? 

I have to violate stage tradition, almost to 
ignore my knowledge of the theatre that I might 
make way for a new and untried stage effect. 
All this is inconceivably impossible to anyone 
who has not experienced the facts that I am 
trying to convey. It is a matter that can only 
be talked about with the discretion of a few who 
understand it. 

When I decided upon the theme of this play 
I tried to find out a name for my supernatural 
hero. I hunted through directories of the Dutch 
settlers, and intuitively disregarded "Hans" and 
"Jahn," and all the rest of them, till one day 
without any doubt whatever I decided upon 
"Peter." There was no question in my mind 
about it afterward, yet, why it should have been 
''Peter" instead of "Hans," or any other name 
is still a mystery. Then, that being settled, I had 
to find his surname. In despair one day, after 
reading an old Dutch directory of names, I shut 
my eyes, and put my finger on a spot on the 
page. I lifted it and read the name of "Grimm." 

Now, who did that who made me call him 
"Peter Grimm" ': 

If there are supernatural phenomena told in 
books and reported in newspapers, why not in 
the theatre? 

To veil the story of this play with supernatural 
suggestion but without obvious staginess, I 
selected the month of April for its episode, the 
fairy month of the year, when the air is full of 
whisperings and murmurings. This, for effect, 
of course, but chiefly to emphasize the truth of 
supernatural influences. 

I mention chiefly "The Return of Peter 
Grimm," because it is a play which tried to 
touch the edge of the rainbow, a forecast of the 
wonderful possibilities in the realism of the 
future, in which lies an undiscovered field, full 
of supernatural influences, but not nearly so in- 
tangible as some people seem to think it is. 

We are climbing in our serious ambitions even 
in the theatre, and the only pity is, that we can- 
not restrict its productions to themes which have 
in them the purpose of realism in the future. 

DAVID BELASCO. 



"Tante," the book by Anne Douglas Sedgwick 
out of which Haddon Chambers has made a play 
of the same name for Ethel Barrymore is one 
of those great rarities a successful novel about 
music. As a rule, even musicians fail on attempt- 
ing to put their own art into novel form; but 
more frequently still does the layman, having 
only a smattering of musical knowledge, commit 
gross technical blunders when he tries to blend 
mu-.il- and fiction. 



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"Tartarin" on the Parisian Stage 

(Continued from page 92) 



TARTARIN : Child ! Let me alone. When I go 
on a lion hunt I go like a lion! At Livadia, at 
Peterhof, at Tsarskoe-Selo, I shall seek him, 
waiting for a favorite occasion. And one day as 
he sets out to chase a bear he will find me before 
him! 

SONIA : But he will not be alone ! 

TARTARIN : No, he will be accompanied by two 
Cossacks, two giants, bearded, armed to the teeth, 
mounted on their rapid little horses of the 
Ukraine. They ride by the side of the Em- 
peror. One of them perceives me, dashes toward 
me; I seize him, twist him out of the saddle, 
snatch his gun bang! bang! dead with a ball in 
the head. The other Cossack, mad with terror, 
flees. The Emperor, astonished, stops. He fixes 
me with his blue eyes, where I see a gleam of 
terror. I advance and cry : "Yes, it is I, Nicolas ! 
Ah ! ah ! one of us two must fall !" 

SONIA: What will he say? 

TARTARIN : In a voice that he tries in vain to 
make firm he demands my name. "I am Tartarin 
of Tarascon, and I hurl you the gauntlet, Nicolas 
Romanoff!" At these words a livid pallor 
spreads over his visage. Flight is impossible 
we are alone, face to face, Despotism and Lib- 
erty. To yourself, sire, look to yourself draw 
your sword and defend yourself! I draw my 
own good sword he advances not a muscle of 
my face quivers two bullets whistle past my 
ears, one to the right, one to the left. The 
tyrant puts his horse to a gallop he tries to 
flee. Ha ! ha ! he shall not go far. I raise my 
trusty rifle slowly, methodically I sight. In 
vain the despot seeks to escape me exciting his 
horse, which leaps from left to right. But I 
stand unmoved. At the proper moment pan ! 
pan ! 

SONIA: A bullet in each eye? 

TARASCON : No, one bullet only between the 
two eyes. He falls to the ground. Mounting 
his war horse and carrying the corpse across my 
saddle I enter Petersburg, crying: "People, you 
are free, the tryant is dead !" 

SONIA : They would not understand you. 

TARASCON: I will say it in Russian. I will 
learn Russian from to-day. Here them acclaim 
me: "Long live Tartarin!" But in Russian, of 
course. "Tartarinoff, Tartarinski, Tartarinieff ! 
Tartarinovitch !" The Russian National Hymn. 
They carry me in triumph to the Imperial Palace 
a delegation offers me the supreme power I 
refuse. WILLIS STEELL. 

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De Pachmann Plays Two "Songs Without 
Words" Venetian Gondola Song (Op. 30, No. 
6 F Sharp Minor) ; Spinning Song (Op. 67, No. 
4 C Major), Mendelssohn. 

These Lieder ohne Worte are all infinitely 
beautiful compositions, and are deservedly popu- 
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when we hear the average amateur attempt them. 

A French Folk-Song by Farrar and Clement 
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An old French folk-song by Jean Baptiste Lully 
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A Goetze Number by Gadski and Goritz. Still 
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Of the many musical settings to poems with 
this title, one of the most effective is that by 
Hermann Goetze (1840-1876). 

Zimbalist Plays Wieniawski's Beautiful "Le- 
gende." Legende (Op. 17), Wieniawski. 

One of the most effective pieces in Mr. Zim- 
balist's repertoire, and one of the most liked by 
his audiences, is the beautiful but melancholy 
Legende of the late Henri Wieniawski. 

Whitehill Sings a Foster Ballad Old Black 
Joe, Foster. 

A New Powell Record Caprice (Op. 51, No. 
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(Advt.) 

Photographer's Credit 

The portrait of Mr. David Belasco which ap- 
pears on the top of page 86 of this issue is from a 
photograph by the Misses Selby, whose studio is 
at 628 Fifth Avenue, New York City. 



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and " Th Analysis of Play Construction.") 



A MONTHLY devoted to 
the scientific discussion 
of Plays and Playwnting. 
1 5 cents a copy. $ 1 .50 a year. 
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Write for specimen copies and 
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OUTING 







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OF THE ROOSEVELT 
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The Trail of the 
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Brains 
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ALL-ROUND MAN 



THE NEW PLAYS 

(Continued from page 83) 



not written, and Mr. Ned Wayburn, who staged 
this colossal production, deserves high praise for 
his ingenuity of invention and the snap and 
sparkle with which he has invested the action. 
The music by Jean Schwartz and Al. W. Brown 
serves its purpose, even though it lacks much 
originality. The dialogue and lyrics are from 
the pen of Harold Atteridge. The verses are 
neat, and even though a bit professional, the 
song with alternate verses, by the pseudo, Geo. 
M. Cohan and Willie Collier, is really witty. 
There is some good satire, too, in the opening 
scene between the "tired business man" and the 
theatre usher, after which the dialogue not only 
fails in importance, but quality as well. But at 
this point action takes the place of the spoken 
word, and pretty girls, in different costumes 
every fifteen minutes, hard-working comedians, 
the black-faced patter of Le Maire and Conroy 
is very clever. Charlotte Greenwood's contor- 
tions and the every-variety of the tango and 
turkey trot, together with the almost forgotten 
cake-walk, fill in most acceptably. But the im- 
posing steps of the Capitol at Washington, reach- 
ing to the very gridiron of the stage, is the 
scenic and chorographic acme. That alone would 
carry any show to success. 



MAXINE ELLIOTT'S. THE LURE, play in 
three acts by George Scarborough. Produced 
August I4th with this cast : 

The Mother, _Miss Lucia Moore; The Doctor, Mr. 
Mortimer Martini; The Special Agent. Mr. Vincent Ser- 
rano; The Girl, Miss Mary Nash; The Maid, Miss Su- 
=anne Willis; The Politician, Mr. Edv.-in Holt; The 
Madame, Miss Dorothy Dorr; The Cadet, Mr. George 
Probert; The Other Girl, Miss Lola May. 

Each theatrical season puts out its own par- 
ticular brand of play. We have had, in turn, 
^he war play with its smell of gunpowder, the 
frontier play with its cowboys and Indians, the 
political play with its expose of graft and cor- 
ruption, the financial play with its strife between 
capital and labor, the Oriental play with its 
sensuous pictures, the shop-girl play with its 
ippeal for more humane conditions. This year, 
following the lead of Elizabeth Robins' "My Lit- 
tle Sister," it is the white slave question which 
the playwright has selected for a dramatic ser- 
mon, the first offering in this direction being 
"The Lure," a piece dealing with the problem 
of how a girl goes wrong. It is a strong, grim 
drama and very little is left to the imagination. 
The scene is a house of ill-fame. The char- 
acters are labelled frankly the Madame, the 
Cadet, the Girls, etc. It is, perhaps, unfortunate 
that the public performance of pieces of this 
character acquaint immature minds with un- 
pleasant phases of life, but unless the truth is 
told and perils pointed out, how is innocence to 
be protected? To quarrel with such plays be- 
cause they tell the truth and expose these terrible 
conditions, is to accuse oneself of the worst kind 
of pharasaism. The play is brutally drawn, but it 
is an accurate picture of conditions as they exist 
to-day in every big city in the world. To deny 
: ts truth or to charge the author a United States 
secret service agent who has done much investi- 
gating in this field with exaggeration is to con- 
fess oneself ignorant of life. 

A poor working girl must have money to save 
the life of a dying mother. At her wits' end, 
she recalls that a certain Madame Somebody 
once gave her a card, saying she alwavs had 
"extra work for girls in the evenings." The girl 
calls at the address given and is ushered into a 
luxuriously furnished reception room. The real 
character of the place soon dawns unon the girl 
and she tries to flee. Too late. The Madame 
detains her, claiming a week's board and the 
price of the fine dresses she has given her. 
Finally, through a secret service lover, the girl 
is saved and the white slavers are arrested. 

The piece is well acted. Mary Nash plays the 
girl simnly and with considerable emotional 
power. Dorothy Dorr, an experienced actress, is 
impressive as the Madame. Edwin Holt portrays 
to the life the professional politician. Vincent 
Serrano is convincing as the agent, and George 
Probert is realistic as the Cadet. Lucia Moore 
also does excellent work as the suffering mother. 

'The Lure" is well worth seeing. It will be 
food for discussion for months to come. 



COLUMBIA UNIVERSITY. COBURN PLAY- 
ERS IN "THE TAMING OF THE SHREW." Comedv 
bv William Shakespeare. Produced on July 28th 

with this cast : 

Baptista. Frank Peter": Vincentio. Conrad Cantzen; 

Lncentio. George Gaul: Petruchio, Mr. Coburn; Horten- 

sio, Norbert -Myles; Gremio, George Currie; Biondelo, 

Frank Howard; Tranio, Thomas Mitchell; Grumio, John 

(.Continued on page xiv) 



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Xll 



THE THEATRE MAGAZINE ADVERTISER 



The Smart Set 

A BETTER-CLASS MAGAZINE 

WILLARD HUNTINGTON WRIGHT, Editor 

Under the new policy of The Smart Set 
contributions by the following authors are 
appearing : 

Brieux Bliss Carman 

George Moore Ezra Pound 

May Sinclair Ford Madox Hueffer 



August Strindherg 
J.imes Huneker 
William Butler Yeats 
Arthur Schnitzler 
Eden Phillpotts 
Frank Wedekind 
Theodore Dreiser 
Maarten Maartens 
Leonard Merrick 
Frank Harris 
Ludwig Lewisohn 



J. D. Beresford 
Florence Wilkinson 
W. Pett Ridge 
Gabriele D'Annunzio 
Reginald Wright Kauffman 
Daniel Carson Goodman 
Harris Merton Lyon 
Arthur Stringer 
Edgar Saltus 
Richard Le Gallienne 
D. H. Lawrence 




N the September issue of The Smart 
Set there will appear a powerful one- 
act play by Brieux, author of "Damaged 
Goods." It is called "A School for 
Mothers-in-Law," and, despite its 
lightness of touch, is a searching social document, 
in many ways as important in theme as "Damaged 
Goods." 

May Sinclair also contributes an arresting and human 
story entitled "The Pictures." This story is in Miss Sin- 
clair's best vein. 

William Butler Yeats contributes a long lyrical poem, 
"The Three Hermits." 

Gabriele D'Annunzio contributes a realistic story of 
mother-love, entitled "The End of a Dream." 

Reginald Wright Kauffman contributes a novelette of 
New York life "Judgment." It is a strong modern 
story, and unquestionably the best thing this author has 
ever done. 

These are but a few of the features in the September 
issue of The Smart Set. Twenty-five other contributions 
are on the table of contents. 

THE SMART SET is frankly making its appeal to the 
thinking reader, the reader who demands the best in mod- 
ern literature, the reader who is dissatisfied with the inane 
output of the average "popular" magazine. 

If you are this kind of reader, you will welcome the Septem- 
ber Smart Set. Something new and genuine has remained to be 
done in the American publishing world. The Smart Set is en- 
deavoring to do it. 



THE pyramids bulk black against a purple sky. Above, the stars 
that shine over the desert lead the eye away through space, giving 
a sense of depth and perspective that is had only in the heavens ol 
the tropics. But there is still the sense of a lack. Then the moon rise*. 
slowly, majestically, glowing like molten gold with the tomb of a king 
silhouetted sharply against it, and the audience gasps at the very natural- 
ness of the phenomenon. Here is no candle in a box, hung up behind the 
back drop by a careless scene shifter who recks not if his "moon" does -i 
crazy dance before settling into its appointed place. Rather, it is the 
moon of hot summer nights, distorted by the atmosphere to an immense 
size, but such a one as has never before been brought down to earth to 
aid the muses of the American stage. 

The audience wonders aloud how the effect is gained. The answer is 
simple. To electricity or to be exact, to electricity and Benjamin Bier- 
wald, chief electrician of the Century Theatre in New York should the 
credit be given for putting Luna into the cast of "Joseph and 1 1 is 
Brethren." When this spectacular production was first seen at the Century 
last season, the wonderful moon effect made a sensation. As this play 
is now attracting crowds in other cities, it will be interesting to all theatre- 
goers to be taken behind the scenes and learn how it is done. 

I sought out Bierwald to sit at his feet and learn how he had wrought 
such a change in the varied skies that Thespis knows. Through a tan.uk- 
of scenery, dangling ropes and props I stumbled. Egyptian soldiers, men 
of all the tribes of Israel, alluring dancing maidens, sped hither and yon 
about me, but nowhere was there anyone who looked as if he might be a 
maker of moons. Finally a slave of Pharaoh's stopped long enough to 
answer a question. "Who? Benny? Sure, that's him over there." And 
lo, it was so. 

He led me to a dark corner where the moon had been shoved to await 
the night's performance. At first glance it looked like a boy's attempt to 
build a searchlight of warship size. But I had seen it from "out in front'' 
and knew what it could do. The moon itself is a lamp four feet in 
diameter and a foot deep. In fact, it might have been made from a great 
dishpan. Stretched across its face is a drumhead of linen with faint 
markings of all the moon's pits and craters that go to make up the 
features of that amiable lunatic, the man in the moon. Set about the rim 
inside, there are thirty-six electric lamps of a hundred candle power each. 
"But why doesn't each lamp make its separate spot of light on this thin 
covering?" I asked. 

That was one of the difficulties that Bierwald met and overcame. He 
found a linen of Scotch weave through which the glow of a lamp is 
diffused equally, no matter what its power. To get the proper color, the 
orange tint of the new-rising moon, he applied a thin coat of paint to each 
lamp and then traced on the linen the markings of the moon's face 

"It's a real moon that you see. too." Bierwald explains with righteous 
pride ; "that's the same face that it showed on the night of September 15. 
1903, and it was just 14.40 days old then. You see, I've always had the 
idea that a moon that looked like a moon could be made for the theatre. 
The blobs of yellow light stuck up somewhere on a back drop have always 
looked sort of sickly to me. Besides, they never moved, no matter how 
long a time the moon scenes were supposed to cover. Now you know no 
self-respecting moon stays still to watch a pair of lovers spooning, no mat- 
ter whether they are ancient or modern. So it was up to me to have it stir 
around a bit, besides looking like a real thing. 

''I went to a man who takes pictures of the moon in all its phases. He 
gave me the plate of a photograph he had taken through a telescope. A 
little acid took off all the negative except the moon itself, and then I had 
a lot of enlargements made. The biggest one was four feet across, and 
that is the one we use. After the big picture was made I laid the linen 
for the lamp-face on it and traced the outline of all the physical features, 
afterward filling them in and shading them with light blue. Now when the 
light is turned on, the effect from the front is exactly what you can see on 
the full moon at any time. But I don't let the whole thing come up. It's 
not due to appear until close to the end of the act, anyway, and just a 
section of it showing from behind the pyramid is enough. If I sent it up 
all the way, the 3,600 candle-power would light up the whole auditorium, 
and it would be too bright." 

The mechanical end of the moon-rise is as clever a piece of work as 
the lamp itself. Two uprights, two inches by two, rise from a broad 
standard. Two others of the same size, and fastened to each side of the 
lamp, slide in grooves on the first upright. Heavy sash-cord is led from 
an eye-bolt at the bottom of the lamp uprights, on each side, through a 
small block on the top of the standard uprights, and then down to an 
axle, fitted with a small wheel and handle on one end. By turning the- 
wheel slowly the lamp can be raised or lowered at any speed, and there is 
none of the painful jiggling which has so often destroyed the realism of 
an otherwise well-set moonlight scene. 

Now Bierwald is busy with plans for elaborating his invention for use 
in future productions. 

"Look at this set of moons," he says, showing a roll of print of all sizes : 
"we can. have any kind of moon we want now. But I do like this first 
big one. It's just about the best actor we have." GROSVENOR A. PARKER. 



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THE THEATRE MAGAZINE ADVERTISER 



xin 



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C. Hickey; Curtis, Charlotte Gladstone; Sugarsop, Con- 
stance Howard; Philip, \Villiam Fish; A Pedant, Herbert 
Haekler; A Tailor, Nevin Clark; Katherina, Mrs. Co- 
burn; Bianca, Kate McLaurin; Widow, Eugenia Webb. 

What F. R. Benson has been doing to stimulate 
the British interest in Shakespeare and the 
legitimate Charles Douville Coburn and his 
Players have been doing in a mild way for the 
American public. They are earnest and intel- 
ligent performers whose efforts have been prop- 
erly appreciated. Recently they appeared for a 
week on the campus at Columbia University in a 
round of Shakespearean plays. All during the 
mild and open season they tour the country. The 
sward is their stage, the hedges their tiring 
rooms. With only the elements have they to 
contend, for their dextrous use of calciums makes 
them independent of the moon for lighting pur- 
poses. 

Their opening bill this season was "The 
Taming of the Shrew." This farce, without the 
induction, they played with fine roystering zest 
and a due regard for all the mirth-provoking 
details that stage convention has handed down. 

Mr. Coburn makes an imposing and dominating 
figure as Petrucio, while the Katherina of his 
wife is an impersonation, carefully composed and 
acted with becoming force and finish. The 
comedians of the Coburn company are particu- 
larly competent and the various scenes in which 
they figured went with spirited success. During 
the week the Coburn Players acted Percy Mac- 
kaye's "Canterbury Pilgrims" and the "Iphigenia 
in Tauris," by Euripides. 

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Queries Answered 



H. J. Q. What was the original cast for the 
comic opera, "The Mandarin," and when and 
where was it given in New York? A. 'The Man- 
darin" was produced for the first time in New 
York on November 2, 1898 with the following 
cast: Emperor of China, Henry Norman; Man- 
darin of Foo-Choo, George Honey; Fan Tan, 
George C. Boniface, Jr.; Hop Sing, Joseph 
Sheehan ; Court Physician, Samuel Marion ; Jesso, 
Bertha Waltzinger; Ting Ling, Adele Ritchie; 
Sing Lo, Alice Barnett; Ping Tee, Helen Red- 
mond. Q. At what theatre was "Barbe-Bleue" 
played in, on July 20. 1868? A. It was played 
in Niblo's Garden. Q. Kindly let me know if 
you have any theatrical photos for sale. A. 
We do not sell photos. You can obtain them 
from Sarony, 256 Fifth Ave., N. Y., White, 1546 
Br9adway, N. Y., or Moffett, 25 Congress St., 
Chicago. 

H. F. U., Chicago Q. Have you published 
any pictures of Fred Eric, now playing the part 
of the Caliph with Otis Skinner in "Kismet"? 
A. No. 

Reader, Brooklyn, N. Y. Q. Must a play be 
typewritten to be read, and is it necessary to 
have it copyrighted before it is read? A. It if 
best to have your play typewritten in order that 
it can be easily read. It is not necessary to have 
it copyrighted. 

M. A., Los Angeles. Q. To whom should I 
submit a play just completed? A. To any of 
the managers David Belasco, W. A. Brady, 
Messrs. Shubert, Charles Frohman, etc. 

M. L. a., Binghamton. Q. Is there a school 
for playwrights in New York, if so, where? A. 
Mr. William T. Price of 1440 Broadway teaches 
playwriting by mail. 

Z. R., Brooklyn, N. Y.Q. Please print the 
complete cast of "His House in Order," as pre- 
sented by John Drew in 1906. A. Hilary Jes- 
son, John Drew; Filmer Jesson, C. M. Halland; 
Derek Jesson, Leona Powers; Sir Daniel Ridge- 
ley, Arthur Elliot; Pryce Ridgeley, Martin Sa- 
bine; Major Maurewarde, Henry Vibart; Dr. 
Dilnott, Herbert Budd; Harding, Gilbert Doug- 
las; Fprshaw, Rex McDougal; Butler, Maurice 
Franklin; Footman, H. R. Pratt; Nina, Margaret 
Illington; Lady Ridgeley, Lean Haliday; Geral- 
dine Ridgeley, Madge Girdlestone; Mile. Thome, 
Hope Latham. 

Subscriber. Q. Will you kindly tell me if 
William Gillette has had any of his plays such as 
''Secret Service" and "The Private Secretary," 
published in book form? A. Samuel French & 
Co., of 30 West 38th St., N. Y., publish Mr. 
Gillette's plays. 

Subscriber. Q. Please give the names of the 
cemeteries and cities or towns where are interred 
the remains of the following members of the dra- 
matic profession Madame Celeste, Mile. Aimee, 
Harry Edwards, Louise Montague. A. Mme. 
Celeste died in England on February 19, l88a, 

(Continued on paffe .vn) 



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xv 




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XVI 



THE THEATRE MAGAZINE ADVERTISER 



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but we do not know where she is buried. Mile. 
Aimee, we believe, is buried in the Mountpar- 
nasse Cemetery, Paris, having died on October a, 
1887. Harry Edwards was cremated at Fresh 
Pond, L. I. Louise Montague died on March 
15, 1910 at 164 Manhattan Avenue, New York, 
but we do not know her burial place. 

F. B., Tarrytown. Q. Who is the composer 
of the opera, "The Queen of Sheba"? A. Karl 
Goldmark. Q. Kindly tell me when and where 
it was first produced and also the date of it 
first presentation in New York. A. "The Queen 
of Sheba" was first produced in Vienna, n 
March 10, 1875, and was first heard in New York 
on December 2, 1885. 

T. C, Buffalo. Q. In what plays have Laura 
Nelson Hall and Jane Grey made their last ap- 
pearances? A. Laura Nelson Hall appeared in 
"The Poor Little Rich Girl," at the Hudson 
Theatre, and Jane Grey in "The Conspiracy," at 
the Garrick Theatre. 

B. R., Chicago. Q. Where can I purchase the 
play, "The Melting Pot"? A. Israel ZangwiH's 
play, "The Melting Pot," has been published by 
the Macmillan Company, New York. You can 
purchase it at any bookseller's. 

Reader, Springfield. Q. Who is John Drew's 
leading woman? A. Laura Hope Crews. Q. 
Where is Maude Adams appearing now? A. 
She is playing on the road in J. M. Barrie's 
"Peter Pan." Q. When and where did Miss 
Adams first appear on the stage? A. In "The 
Lost Child," in Salt Lake City in 1873. 

E. A. H Q. What was Blanche Bates' first 
part? A. Miss Bates made her first appearance 
on the stage in August 1894, in a play by Brander 
Matthews called "The Picture." Q. In what 
play did Grace George make her debut? A. In 
a farce called "A New Boy." 

S. B., San Diego. Q. Who are the publishers 
of Richard Wagner's Memoirs? A. Dodd, Mead 
& Co. Q. Is there a book published which gives 
the stories of the operas? A. A. C. McClurg 
& Co., Chicago, publish "The Standard Operas," 
by George P. Upton. 

F. Q., Omohundro, Va. Q. Can you give 
names of managers who want chorus girls? A. 
You might apply to Mr. Ned Wayburn, 1480 
Broadway, N. Y. City. 

T. U., Madison. Q. Have you ever published 
a picture of Titta Ruffo, the celebrated baritone? 
A. See our November, 1912, and January, 1913, 
issues. Q. Can you tell me who Julia Sander- 
son's manager is and his address? A. Charles 
Frohman, Empire Theatre Bldg., N. Y. City. 

P. L., Omaha. Q. Where can I obtain good 
pictures of Billie Burke? A. Sarony, 256 Fifth 
Ave., N. Y. City. Q.- Have you published any 
scenes from "The 'Mind-the-Paint' Girl"? A. 
See our October, 1912, issue. 

M. M. R., Sacramento, Cal Q. Will you 
kindly inform me where I can obtain the manu- 
script of Barrett's play, "The Sign of the Cross"? 
A. Write to Messrs. Sanger & Jordan, 1430 
Broadway, New York City. 

S. E. G., Muncie, Ind. Q. Have you ever 
published a picture of Sara Allgood of the Irish 
Players? A. See our April, 1913, issue. Q. 
Who is the author of "The Playboy of the 
Western World"? A. John M. Synge. Q. 
Did the Irish Players appear in New York last 
season? A. Yes at Wallack's Theatre. 



New Dramatic Books 



"TOWARDS A NEW THEATRE." By Edward 
Gordon Craig. New York: E. P. Dutton & 
Company. $6 net. 

This book is an example of the highest artistic 
excellence in printing, its hundred pages and 
forty plates on heavy paper constituting a for- 
midable map-like volume. It contains the gist 
of Mr. Craig's theories on the pictorial side of 
the staging of plays. We may assume the justice 
of his claim that he originated the movement 
toward a new theatre, some evidences of which 
we have seen here in the Reinhardt productions. 
Mr. Craig's dedication reads : "To the Italians, 
in respect and gratitude ; to their old and their 
new actors, ever the best in Europe, the designs 
in this book are dedicated." Each plate is ac- 
companied with critical notes by the author. Mr. 
Craig writes with marked confidence in himself, 
but that is immaterial and not necessarily prej- 
udicial. Until his theories are adopted, they 
concern the public in a much less degree than 
they do stage managers and producers. In other 
words, there is an artistic and pictorial quality 
in Mr. Craig's work that must be put into general 
use before they are even understood by the public. 
For the present, his theories remain technical and 
largely untried, but he urges them with convic- 



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xvn 



lion, and the volume has value to the student. 
J. M. Dent & Sons are the London publishers. 

"MoiucKN DANCING AND DANCERS." By J. E. 
Crawford Flitch, M.A. With eight illustrations 
in color and many in black and white. Philadel- 
phia: J. B. Lippincott Company; London: Grant 
Richards, Ltd. 

This is a handsome large quarto volume, a book 
of value in every way. Its history of dancing is 
complete and authoritative, and one obtains from 
it a satisfactory idea of the significance and 
beauty of the art up to its most recent develop- 
ment. The descriptive text is illuminating, and 
the pictures of the most celebrated dancers, many 
in colors and representing the most characteristic 
poses and movements, are interesting in the in- 
dividualities that they put before us. The range 
of the book may be seen from the titles of the 
chapters : "The Ancient and Modern Attitude 
Toward the Dance," "The Rise of the Ballet," 
"The Heyday of the Ballet," "The Decline of the 
Ballet," "The Skirt Dance," "The Serpentine 
Dance," "The High Kickers," "The Revival of 
Classical Dancing," "The Imperial Russian Danc- 
ers," "The Repertory of the Russian Ballet," 
"The Russian Dancers," "The English Ballet," 
"Oriental and Spanish Dancing," "The Revival 
of the Morris Dance," and "The Future of the 
Dance." A full index affords references to every 
aspect of the subject and to the personalities in- 
volved. It is a most satisfactory achievement. 

"THE VARIORUM SHAKESPEARE. JULIUS CESAR." 
Edited by Horace Howard Furness, Jr. Phila- 
delphia, J. B. Lippincott Co. 

The volume is dedicated to H. H. F., in 
Memoriam : "Methinks, 'tis prize enough to be 
his son. 3 Henry VI : II, I, 20." The continua- 
tion of the work begun by the father is carried 
out worthily by the son, whose scholarship is 
manifest. The nature of the Variorum edition 
of Shakespeare is so well known that we need 
not here give any account of its unique merits 
and methods. Into this volume is gathered 
everything that research can bring to bear on the 
subject. Thus, indirectly it is the work of many 
minds and embodies the critical thought of the 
centuries that have belonged to Shakespeare. 

"S. O. S.," AND FIVE ONE-ACT PLAYS. By 
Preston Gibson. Samuel French : New York. 

In addition to the title play, the volume con- 
tained "Suicides," "Derelicts," "The Secret Way," 
"The Vacuum," and "Cupid's Trick." Several of 
these plays have been performed, at various 
times, at the Belasco Theatre, in Washington, or 
at the Playhouse, a little theatre under the con- 
trol of Mr. Gibson himself. Some of the themes 
belong to that drama which relies largely upon 
circumstances of unusual poignancy of feeling, 
but the plays are always dramatic. In "S. O. S." 
the device of a moving picture is used to show 
a part of the action. It is ingenious, apt, and 
in no degree an interruption. Mr. Gibson is 
self-reliant. The effect of this innovation, if it 
can be successfully carried out mechanically by 
an instant change, would be interesting. Mr. 
Gibson's tendency is toward the theatric, but he 
is plainly gaining command of his art. 

"JACOB LEISLER." A play of old New York. 
In Four Acts. By William O. Bates. Michael 
Kennerley : New York. 

An introductory note by Mrs. Schuyler Van 
Rensselaer sets forth the appreciation with which 
this play is regarded by those who represent in- 
timate knowledge of the early history of New 
York as a colony. The published play is dedi- 
cated to the Society of Colonial Wars. These 
circumstances of interest in the play should not 
suggest that the acting drama has a value limited 
to such appreciation. Its dramatic qualities 
commend it to practical use on the stage. It 
reproduces a bit of history, in dramatic form, 
that should be more familiar to the public which 
frequents theatres than it is. It is a good play, 
with exalted sentiment, setting forth the first 
stirrings of independence in the colonies. Jacob 
Leisler was the first to suggest by his activities 
and his tragic fate American freedom and unity. 
The book contains some interesting notes and a 
number of illustrations. 

"PERCEPTIONS." By Robert Bowman Peck. 
London: Elkin Mathews. 

A collection of poems, some of them not 
wholly unrelated to the stage. 

"THE DRAMATIC INDEX, 1912." Edited by 
Frederick W. Faxon, compiled with the co-opera- 
tion of over twenty-five libraries. 

This publication is indispensable to all who 
have occasion to refer to a record of every im- 
portant article on current dramatic movements, 
books and productions. The fulness of this in- 
dex is indicated by the number of pages, 322, 
closely printed. The information is made all the 
more accessible by the system of cross-indexing. 
We may refer to the names of authors, plays, 
magazines, subjects generally drama, etc. 



A Popular Edition of this Famoa* "Book 

One Volume In 8vo. Bound In Paper 

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LOVE I ft F*RIEJVDSHIT 

(A Namelesa Sentiment) 

With a Preface in Fragment* from STENDHAL 
Translated from th* Fnnch by HEffRy fEJVE DV BOAT 

This is the romance in letters of a man and a woman, extremely intelligent 
and accustomed to analyzing themselves, as Stendhal and Paul Bourget would 
have them do. They achieved this improbable aim of sentimentalist love in 
friendship. The details of their experience are told here so sincerely, so 
naively that it is evident the letters are published here as they were written, 
and they were not written for publication. They are full of intimate details of 
family life among great artists, of indiscretion about methods of literary work 
and musical composition. There has not been so much interest in an individual 
work since the time of Marie Bashkirsheffs confessions, which were not as 
intelligent as these. 

Franclsque Sarcey, in Le Figaro, said: 

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the prettiest dramas of real life ever related to the public. Must I say that well-informed people affirm 
the letters of the man, true or almost true, hardly arranged, were written by Guy de Maupassant? 

"I do not think it is wrong to he so indiscreet. One must admire the feminine delicacy with^which 
the letters were reinforced, if one may use this expression. I like the book, and it seems to me it will 
have a place in the collection, so voluminous already, of modern ways of love." 



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ONE day last month a very 
tanned and animated group 
of Thespians were seen again 
around their old stamping-grounds in Chicago. They were the 
Hull House Players, who had just returned from Europe. To 
many actors a trip abroad is a trifling incident of the summer 
vacation. Not so with the Hull House company. None of them 
had ever crossed the Atlantic before, most of them had never 
seen Broadway, and very few had done any travelling at all out- 
side of the short trips made by the company to play in towns 
near Chicago. 

They had every reason to be proud of their "grand tour," be- 
cause they had earned the money it cost by the excellent per- 
formances they had given during the year. It was only a forty- 
two-day trip, but no one could make three thousand dollars 
stretch farther for fourteen people than Mrs. Laura Dainty 
Pelham, the director of the Hull House Players, or do more to 
insure their success. From the time they landed at Queenstown 
until they sailed for home from the Hague, they were royally 
entertained. In Dublin they had tea with Lady Gregory and 
visited the Irish Players, with whom they had become fast 
friends during the latter's engagement in Chicago. They were 
the guests of honor at a reception given by the Lord Lieutenant 
and Lady Aberdeen, who placed at their disposal St. Patrick's 
Hall, of Dublin Castle, for a performance of "By Products." 
They had lunch with the Countess of Warwick at Warwick 
Castle, were shown through the Houses of Parliament by Mr. 
Percy Alden, and in London lunched with John Galsworthy, 
who had met the players during a brief visit to Chicago. 

Just before they went abroad, they gave a week of repertoire 
at Hull House, during which their many friends turned out to 
do them honor and speed them on their way. They gave 
"Kindling," "You Never Can Tell," "The Tragedy of Nan," 
"The Rising of the Moon" and "The Workhouse Ward," three 
one-act plays, "Marse Covington," by George Ade, "By Prod- 
ucts," by Joseph Medill Patterson, and "Manacles," by H. K. 
Moderwell, and "The Pigeon." 

It was at Mr. Galsworthy's own request that the Hull House 
Players gave "The Pigeon." When he came to Chicago last 
year, he met Mrs. 
Pelham and became 
very much interest- 
ed in her organiza- 
tion. He told her 
h o w delighted he 
was to have heard 
of their masterly 
production of his 
drama, "Justice." 
Mr. Galsworthy 
thought it was re- 
markable that this 
little company 
should bring out his 
play when other 
managers had been 
refusing to do so for 
over two years. He 
had a long talk with 
Frank K e o u g h , 
Louis Alter and 
Stuart Bailey, and 
said he was delight- 
ed with the work of 
the company. He 
suggested that they 
should do "The Pigeon," which play has been one of the most 
popular in their repertoire ever since. 

The first performance of "The Pigeon" was given after it 
had been in rehearsal only four weeks, and as a result there 
occurred the slips characteristic of a first-night, even in the 
best professional companies. The lights flashed up in the .wrong 





places and were extinguished at 
critical moments. The Pigeon's 
dressing-gown, which he draped 
around him after he had given his last pair of trousers to Fer- 
rand, the French vagabond, was not quite long enough to guar- 
antee the sobriety of the audience, and a chair had to be' reached 
through the doorway by a thoughtful stage hand, who deplored 
the bareness of the studio. But these were only minor dis- 
crepancies, and Mrs. Pelham saw that they did not recur. 
Recent performances of the play have shown a real growth, and 
the prompter, that bugbear of all amateur organizations, was 
never in evidence again. 

The Hull House Players are not amateurs. They act with a 
finish and artistic precision, which, as one Chicago critic said, 
inflicts on them the penalty as well as the privilege of being con- 
sidered professionals. They are not college students entering 
into dramatics as a sort of lark ; they are not people of com- 
parative leisure resorting to amateur acting to fill up part of their 
playtime. Rather they are hard-working young folks, who have 
plenty of troubles and worries, some of them with families to 
look after, and yet who come to their acting as to something 
that will freshen up the wilted aspect of life for them after the 
daily grind. Everyone must have some interest outside of th'e 
"bread alone" struggle to keep wholesome and happy. With 
some it is athletics, books, travelling, or cards. With these 
young people it is their acting, and they are satisfied to have it 
take up most of their spare time. They have two rehearsals a 
week, and just before a new production, all-day rehearsals on 
Sundays. Their connection with the company not only provides 
all their amusement, but a stimulating intellectual life for them 
as well. They have high ideals of life and society and prefer to 
present those plays that deal with the serious moral and social 
problems of the day, such as those of Shaw, Galsworthy, and 
Pinero. 

Everyone connected with the organization works during the 
day. Mrs. Pelham, the director, is in her office from nine until 
six and devotes her evenings to her players. Louis Alter, one 
of the leading members of the company, is a cigar-maker; Stuart 
Bailey runs a little restaurant downtown ; Frank Keough works 

in the office of a 
brewery, and Ed- 
ward Sullivan in the 
office of a large 
corporation; Joseph 
M a r s o 1 a i s is a 
stereotyper; Debra 
McGrath, a school- 
teacher, and Laura 
Thornton and Maud 
Smith, stenogra- 
phers. Laura Crid- 
dle and Helen Sil- 
v e r m a n are em- 
ployed in that most 
ancient of occupa- 
tions, keeping house 
for their husbands. 
A. Rubenstein is in 
the feather business, 
and Paul Grauman 
is a photographer. 

The Hull House 
Dramatic Associa- 
tion has been in ex- 
istence eleven years, 
and of the original 
eleven members there are four remaining. Most of those who 
dropped out did so after the first year because they could not 
stand the pressure. The membership is limited to thirteen, and 
as none of the active members contemplate resigning, there seems 
little hope at present for those on the long waiting list. How- 
ever, they often help out in emergencies. Charles McCormick, 



AUDITORIUM OF THE HULL HOUSE THEATRE, CHICAGO 



XX 



THE THEATRE MAGAZINE 




KATHARINE LA SALLE 
Now playing in "The Master Mind" 




the president of the organization, Laura 
Thornton, the secretary, Maud Smith, 
and Joseph Marsolais, have been in since 
the beginning; Miss McGrath conies 
next with ten years ; then Alter, Keough, 
and Mrs. Silverman, nine years ; Mrs. 
Griddle, eight; Bailey, three; and Grau- 
man and Sullivan, two. Thus the play- 
ers have really grown up together and 
have the delightfully informal an.i 
friendly attitude of a large family 
toward each other. The members were 
originally selected from the talented 
young people in the various social play 
clubs in existence at Hull House at the 
time. 

One might marvel at the facility with 
which the company in "The Pigeon" 
mastered a dialect of which they have no 
personal knowledge, if one had not 
heard their delicious brogue in the Irish 
plays. In "The Pigeon," Mrs. Silver- 
man as the flower girl, and Joseph Mar- 
solais as the cabby, bring out the flavor 
of the London street jargon, and Stuart 
Bailey, who does not know a word of 
French, manages the broken dialect of 
the vagabond philosopher beautifully, 
and adds that distinct little flourish to 
his words so characteristic of the French 
speech. 

In the Irish plays the company do the 
parts with an enchanting brogue and a 
delicious intonation. Of course, a num- 
ber of the cast are Irish and fall natural- 
ly into the "spakin* of it." But the real 
source of inspiration is Mrs. Pelham 
herself. As Laura Dainty she was a 
great soubrette and famous in her 
specialty of Irish roles. 

As she proudly puts it, "I played what 
were known as chambermaid parts. 
The chambermaid became a soubrette, 
and now the soubrette is an ingenue, so 
you can figure out how old I am. And you will notice," she 
added, "that the Hull House stage uses the County Kerry dialect." 

Boucicault's thrilling melodrama, "Kathleen Mavourneen," 
was revived just before the players went to Europe, so Mrs. 
Pelham's friends could see her in the part of Kathleen, which 
was her first success on the stage thirty-five years ago. It was 
the first time Mrs. Pelham had ever acted with her players. 



White JEAN OALBRAITH 

Leading woman at the Harlem Opera House 




VIRGINIA PEARSON 
To appear in "Nearly Married'* 



CATHERINE CALVERT 
Who will play the leading role in "The Escape" 



Old-time playgoers say her screams 
were as piercing and bloodcurdling, and 
with her blond wig and make-up, she 
looked as much the simple Irish country 
lass as when they saw her long ago. 

Those who have seen the Hull House 
Company in Lady Gregory's plays, "The 
Workhouse Ward," "The Rising of the 
Moon," "Spreading the News," and in 
Synge's "Riders to the Sea," will re- 
member how exquisitely they were given 
and that the Hull House Players did not 
suffer by comparison with the Irish 
Players. The meeting with the Irish 
Players in Dublin was only the renewal 
of a friendship begun in Chicago. One 
Saturday night during the Irish com- 
pany's engagement in Chicago, Lady 
Gregory and Lennox Robinson came 
over to Hull House and saw the little 
company do some of her plays. They 
were so pleased with them that they 
wanted a performance given for their 
whole company. So the following Sun- 
day afternoon, Lady Gregory, the Irish 
Players, and the Irish neighbors of Hull 
House were invited to a special per- 
formance of the four plays. One of the 
Dublin actors was so moved by "The 
Riders to the Sea," that even though he 
had played in it so often and knew what 
every line would be before it was spoken, 
he felt a lump in his throat and could 
not keep the tears back. He was 
ashamed of himself until he looked down 
the row and saw all the rest of the com- 
pany stealthily wiping the tears away. 
Afterward the Hull House Players en- 
tertained them at a merry supper in 
which tears were not in order at all. 
The two busy groups had another meet- 
ing at which they gave a combination 
performance of "The Rising of the 
Moon," two Hull House players starting 
the piece and two Irish players finishing it. The Hull House 
people were invited to see the Irish company many times. The 
last night of the engagement the house was sold out and they 
had to sit in the top gallery, but they did not sit there alone. 
All the Irish Players who were not in the cast climbed up there 
"Our friendship with the Irish Players is very gratifying to 
us." admitted Mrs. Pelham, "we have been reaching out and 



THE THEATRE MAGAZINE ADVERTISER 



xxi 



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working for that sort of art the past ten years. We 
are striving for simplicity and less artificiality in 
the drama, and want to strike a happy medium 
between the natural and dramatic. Our association 
is aiming at the highest ideals in the drama, and I 
cannot begin to say how much 1 appreciate the en- 
couragement the people of Chicago have given the 
players, not only by coming to see us act, or by 
permitting us to see so many good plays, but also 
for the personal interest they have taken in our 
development and improvement. 

"Some people have watched us from the start 
and did not think much of the melodramas we pre- 
sented at first. But I know the melodramas were 
worth while, because they were good training in 
the craft and business of the stage. We have given 
every kind of play and tried every style of acting 
Just as a good cook should know how to make 
German, French, English, and Italian dishes, so a 
good actor should be schooled in every kind of 
play." 

Mrs. Pelham was asked if any of the company 
had had professional offers or ambitions to go on 
the stage. 

"Louis Alter has had several offers, but as he 
does not care to leave his business he has considered 
none of them. After our performance of "Justice," 
many stage managers called up to see if they could 
get some of my players, but I refused. My ambi- 
tions for them are not in that direction, and they 
themselves have no desire to go on the professional 
stage. Of course, this does not mean that we won't 
go to nearby places under our own management. I 
am very willing to go on short tours when it does 
not interfere with the regular work of the mem- 
bers." 

Mrs. Pelham and her players were very proud of 
their success in the first play that had been written 
by a Hull House girl, Hilda Satt. The play is 
called "The Walking Delegate," and is a dramatiza- 
tion of Leroy Scott's novel. 

Miss Satt has lived most of her life in the neigh- 
borhood of Hull House. She was born of Russian- 
Jewish parents near Warsaw, and came to Chicago 
with her family in 1892. The young authoress has 
had a very busy young life. To the present writer 
during a rehearsal she explained with due cause 
for pride: "I went to work in a factory when I 
was thirteen years old, and I have been supporting 
myself ever since. I studied every night when I 
came home from work. When I was about sixteen 
I first came to Hull House. I joined a literary club 
and was the editor of a little paper we pub- 
lished, but it was the stimulus of coming together 
and exchanging opinions that helped me most. 

"I have always been hungry for experiences of 
every type. I consider every employment an op- 
portunity to reach out for new impressions, and I have often 
accepted a position at half the wages I was previously receiving 
for the sake of the novel experiences it would bring me. I 
expect to utilize all my experiences in my plays." 

Miss Satt could not praise Hull House highly enough for all 
it had done for her. Like everyone else who has come in contact 
with Miss Addams, she worships her and has unconsciously 
absorbed the spirit of her ideals. 

During the season that has just closed, the Hull House Dra- 
matic Association has added several new plays to their repertoire. 
Miss Illington was very glad to loan them the manuscript of 
"Kindling," to be used only in Hull House, and they were very 
successful in this drama of the slums. They also worked hard 




MARY RYAN 

Who is now appearing in Chicago in the amusing farce, "Stop Thief" 



to bring out the poetry of Masefield's "Tragedy of Nan,'' and 
its grim and bitter irony. Besides these, they gave three one- 
act plays, "Marse Covington," "By Products," and "Manacles." 
Some idea of the standards they are aiming at may be obtained 
from a list of the plays they have appeared in from the beginning 
of the organization. They were the first company in Chicago 
to give Synge's "Riders to the Sea," and Lady Gregory's plays, 
"Devorgil'la," "Crania," "The Workhouse Ward," "Spreading 
the News," and "Rising of the Moon," and also to give Gilbert's 
"Palace of Truth," Shaw's "You Never Can Tell/' Masefield's 
"Tragedy of Nan," and Galsworthy's "Pigeon." They have 
presented "The Magistrate," "The Schoolmistree," "Trelawney 
of the Wells," and "The Amazons." ELSIE F. WEIL. ' 



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New Stars of This Season 



At the two extremes of the stellar arc for this 
season stand two men of strangely differing types 
and attainments. Willis Sweatnam left the half- 
century mark behind him a considerable time 
ago, though his rubicund face and muscular 
figure would not betray the fact. He has been 
a player of many parts, but it is as the unctuous 
impersonator of wily negro types audiences best 
remember him. Most recently it was as the tip- 
seeking, pbsequieous, pestiferous porter in "Ex- 
cuse Me," shining of face and intrusive of man- 
ner, we saw him. He will be the Uncle Zeb 
of the play of that name which Henry W. Sav- 
age will present this season. The Rupert Hughes 
comedy will turn as upon a pivot upon the char- 
acter of this shrewd relic of the "befoh de wah" 
type, earning a haphazard livelihood in New 
York by the exercise of his skill and ingenuity 
as a carpet sweeper. 

Mr. Sweatnam joined the company playing 
"A Bloomer Costume," and he and his two "big 
sisters," Sallie, afterwards well known on the 
stage as the dancer, La Belle Louise, and Lottie, 
who, herself became a favorite in the South, 
married Harry Howland, an old Museum 
favorite, used to march through the streets be- 
fore the performance, the trio of youngsters 
drawing money to the box office by way of at- 
tention attracted in the streets. Mr. Sweatnam 
went long to the minstrel department of the 
dramatic school. He was with the Moore and 
Burgess Minstrel, with Billy Emerson, and twice 
with Jack Haverly. 

But Willis Sweatnam's impersonations were 
unique. 

While most minstrels imitated the "cullud" 
peculiarity of stuttering, Mr. Sweatnam made 
the negroes of his creation stammer in thoughts 
as well as speech. His departures from min- 
strel lines were successful. He played the part 
of John Smith, the detective, in "The City 
Directory," and Abner Green in "Civil Service." 
One season he appeared in the burlesque "Thril- 
by," at the Garrick,. in New York. 

As against Mr. Sweatnam's half century on 
the stage is Mr. Joseph Santley's score of years. 
But instead of black face, Mr. Santley, aged 
twenty-two, brings the roses of youth in his 
cheeks, and instead of silvery hair the thick 
waving thatch of adolescence, to his role of a 
dancing, singing juvenile lover in the play in 
which he is the new risen star at the Lyric 
Theatre, "When Dreams Come True." 

He played in the companies of the late John 
Lindsay, manager of the Brigham Young The- 
atre, in Utah, and head of his own companies 
touring Utah and adjacent states. John Lind- 
say was his dramatic father, whom he char- 
acterizes as "The Robert Mantell of Utah." 
Master Joey and his brothers Tom and Fred, 
barnstormed through the west. With their 
mother, Leona Santley, they were stranded with 
Harry Pleon, near Chicago. Master Joey played 
with Corse Payton's Stock Company, with Alma 
Chester's repertory company, and with Alice 
Archer in "Jess of the Bar Z Ranch." He was 
featured in "From Rags to Riches," as "Billy the 
Kid," and in "A Runaway Boy." Ten years ago 
we saw him in ''From Rags to Riches," saving 
his stage sister, Laurette Taylor, from the plot- 
ting villain who would have stained her fair 
young life. He became acquainted with Broad- 
way, and Broadway with him, when he succeeded 
Fletcher Norton in "The Queen of the Moulin 
Rouge." He supported DeWolf Hopper in "A 
Matinee Idol," and Marie Cahill in "Judy For- 
got." Last season he was with "The Modern 
Eve." He has become associated with Philip 
Bartholomae in the production of the farce "Kiss 
Me Quick," and Mr. Bartholomae has written 
for him a comedy farce in which he will for- 
swear singing and do but little dancing, from 
which we may conclude that the man at this 
end of the arc is also ambitious. 

To the chief role of "The Great Adventure" 
Miss Janet Beecher will bring acute intelligence, 
high purpose and brilliant achievement. What- 
ever she has played since she made her New 
York debut as Ida in "The Education of Mr. 
Pipp" ten years ago she has- played well. She 
was especially happy as Mrs. "Arovny, in "The 
Concert." When this plum of the season fell 
into her possession there was no dissenting voice 
in the usual chorus of dissenting voices on and 
about the Rialto. 

Helen Freeman is still for the most part an 
unknown quantity, save for the announcement 
that she is David Belasco's newest discovery. 
She will be featured and, doubtless, eventually 
starred, the same course followed in the case of 
Frances Starr in "The Rose of the Rancho," in 
a new and as yet unnamed play. 



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CONTENTS: OCTOBER, 1915 

Edited by ARTHUR HORNBLOW 

COVER: Portrait in colors of Valli Valli in "The Purple Road." PAGE 

CONTENTS ILLUSTRATION : Julia Marlowe as Ophelia in "Hamlet." 

TITLE PAGE : Scene in "Much Ado About Nothing" . 109 

THE NEW PLAYS: "Much Ado About Nothing," "The Fight," "Nearly Married," "Believe Me 
Xantippe," "The Temperamental Journey," "Where Ignorance Is Bliss," "Potash and Perlmutter," 
"Her Own Money," "The Family Cupboard," "Who's Who," "Adele," "Sweethearts," "The Doll 

Girl," "Lieber Augustin," "When Dreams Come True," "America," "Kiss Me Quick." . . . . . . . IIO 

THE POLICE STOP Two PLAYS Illustrated u6 

HITS OF THE MONTH Illustrated Y. D. G 117 

SOTHERN AND MARLOWE AN ESTIMATE Illustrated Oscar W. Firkins . . .118 

SCENE IN "HAMLET" Full-page plate no 

To JULIA MARLOWE, IN "TWELFTH NIGHT" Poem . . . . . . Anne Peacock . 120 

WHOSE Is THE LIVING CORPSE IDEA? /. Sherrick . 122 

SCENES IN "TnE TEMPERAMENTAL JOURNEY" Full-page plate 123 

THE AUTHOR OF "THE LURE" F. C. Fay .... 124 

PROLOGUE Poem Parmlee Brackett . . .124 

THE CABARET BOOKING AGENCY Yetta Dorothea Geffen . 126 

SCENES IN "ADELE" Full-page plate 127 

SCENES IN "AMERICA" Full-page plate 129 

POPULAR OPERA AT THE CENTURY THEATRE Illustrated 131 

SCENES IN "POTASH AND PERLMUTTER" Full-page plate 133 

TRAINING AN AUDIENCE TO LAUGH Illustrated Al Jolson .... 134 

Si KNES IN "BELIEVE ME, XANTIPPE" Full-page plate 135 

REMINISCENCES OF MLLE. RHEA . By Herself .... 137 

DECLINE OF THE FRENCH DRAMA Harry J. Greenwall . . xvii 

OUR FASHION DEPARTMENT F. A. Brown . xviii 



etc. P 



CONTRIBUTORS The Editor will be glad to receive for consideration articles on dramatic or musical subjects, sketches of famous actors or singe 
'ostage stamps should in all cases be enclosed to insure the return of contributions found to be unavailable. All manuscripts submitted should be acco 

ri,.l,<- Ai-fictc tra imriturl t r, cuKrnit tlifir nhntntrranlls for rpnrnHtirtinn in Tup TIITATBIT F"arh nhrttnorronh cfinuM ka .nc/^r^KA^ n . 



ngers, etc., 

etc. *osiage stamps snouia in an cases ue encioscu 10 mauic me iciuiu ui MMHHHUHIMI-. xuuuu iu u^ uuavanauic. f\ti luctnua^ripis suuniiitcu snouia oe accompanied 
when possible by photographs. Artists are invited to submit their photographs for reproduction in THE THEATRE. Each photograph should be inscribed on the back 
with the name of the sender, and if in character with that of the character represented. Contributors should always keep a duplicate copy of articles submitted. The 
utmost care is taken with manuscripts and photographs, but we decline all responsibility in case of loss. 



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THE THEATRE 



VOL. XVIII OCTOBER, 1913 No. 152 

Published by the Theatre Magazine Co., Henry Stern, Pres., Louis Meyer, Treas., Paul Meyer, Sfc'y; l-io-n-14 West Thirty-eighth Street, New York City 




Copyright, 1913, Charles Frohman Benedick 

(John Drew) 



Beatrice 
(Laura Hope Crews) 



Act V. Scene i. Benedick: "They swore that you were almost sick for me" 
SCENE IN "MUCH ADO ABOUT NOTHING," AS PRESENTED AT THE EMPIRK THEATRE 




Copyright, 1913, Charles Frohman 



Laura Hope Crews 



Bertram Marburgh 



Mary Boland 



John Drew 



Henry Stephenson 



Act IV. Friar: "Come, lady, die to live; this wedding day perhaps is but prolonged; have patience, and edure" 
SCENE IN SHAKESPEARE'S COMEDY, "MUCH ADO ABOUT NOTHING," AT THK KMI'IKE THEATRE 



THE NEW PLAY 



EMPIRE. "MUCH ADO ABOUT NOTHING." 
Comedy in five acts by William Shakespeare. 
Produced on September i with this cast : 

Dogberry Hubert Druce 

Verges Malcolm Bradley 

A Sexton Walter Soderling 

Oatcake Rexford Kendrick 

Seacole Murray Ross 

A Boy Annie Francis 

Hero Mary Boland 

Beatrice Laura Hope Crews 

Margaret Florence Harrison 

Ursula Alice John 



Don Pedro Frank Kenible Cooper 

Don John Frank Elliott 

Claudio Fred Eric 

Benedick John Drew 

Leonato Henry Stephenson 

Antonio Sidney Herbert 

Balthazar Nigel Barry 

Conrade Herbert Delmore 

Borachio Edward Longman 

Friar Francis Bertram Marburgh 



Practice is, of course, an absolute essential to a rounded art. 
The player, if he would be a polished actor, must keep in con- 
stant touch with the requirements of the various mediums that 
go to make up his comprehensive profession. Naturally, there- 
fore, an actor, who on the stage, affects modern clothes for more 
than a score of years will find it difficult to hark back to sock 
and buskin with any very great degree of convincing sincerity; 
all of which is prelude to the fact that come Michaelmas it is 
more than twenty years since 
John Drew figured as a protag- 
onist in Shakespeare. 

On the eve of Labor Day, one 
of the hottest nights of the sea- 
son, Mr. Drew reopened the Em- 
pire Theatre as Benedick in a 
very lavish revival of "Much Ado 
About Nothing." In spite of his 
several years under the manage- 
ment of Augustin Daly, Mr. 
Drew's association with the lead- 
ing roles of the Shakespearean 
drama was never considerable. 
In those which he enacted he 
never quite shone with effulgent 
brilliancy. His Petruchio is best 
remembered, fine pendant to Ada 
Rehan's immortal Katharine. If 
there be a role, however, in the 
library of the Swan of Avon, 
whose requirements would seem 
to fit the skill of this player, it is 
Benedick. If he must act Shake- 
speare let it be that Messinian 




courtier and soldier, true embodiment 
of the perfect man of the world. For 
in real life Mr. Drew is that, and on 

the modern stage has he not again and again portrayed its proto- 
type with skill, finesse and effect? 

Mr. Drew will play Benedick better than he did on the open- 
ing night. It took him a little while to get his stride. But in 
the scene where he overheard the cheerful conspirations there 
was nice assumption of pleased surprise while the soliloquy was 
delivered with that variety and skill of changing detail that be- 
tokens the resourceful actor. The interludes with Beatrice were 
nicely rendered and there was dignity and force in the Cathedral 
scene. But there for the effect of a curtain too much stress was 
placed upon farcical means. The finale was brought about with 
neat theatrical precision and sparkle. But, after all, competent 
as it was, Mr. Drew's Benedick is too instinct with the spirit of 
modernity to write it down as perfectly satisfying. 

And so with the whole produc- 
tion. However liberal may be 
the intentions of the management, 
and Charles Frohman is never 
niggardly, it would seem, judging 
from results, to secure compe- 
tents for a play of this kind an 
almost hopeless possibility, 
"Much Ado About Nothing" is 
not one of Shakespeare's greatest 
poetical realizations, but it is in- 
stinct with wondrous character- 
ization and, therefore, requires 
actors. A Benedick without a 
splendid Beatrice would be Ham- 
let with the Prince of Denmark- 
omitted. Laura Hope Crews was 
the exponent of Leonato's niece. 
An actress of training, she was 
more than competent and interest- 
ing, but efficient as was the read- 
ing and execution, it was yet a 
Beatrice in petto. Still, memories 
of Ellen Terry will not efface. 
Miss Crew's success with her 



Photo Gilbert & Bacon 



CHRISTIE MACDONALD 
As Sylvia in "Sweethearts," at the New A.msterda.m Theatre 



THE THEATRE MAGAZINE 



in 



public, howefer, was genuine. There is, at least for those who 
have seen big productions, a standard. Frank Kemble Cooper 
measures up to it. His Don Pedro was dignified and plastic. He 
wore his clothes with authority and the distinction of the period. 
His elocution was admirable. Leonato and his elderly brother, 
Antonio, had the advantage of exponents skilled and drilled in 
the old school. Generous praise is awarded to Henry Stephen- 
son and Sidney Herbert for their work. Miss Mary Boland, 
visually, was a most attractive Hero, but her opposite, the 
Claudio, was altogether lacking in virility, while the three con- 
spirators, Don John, Conrade and Borachio, were about the 
mildest anil most colorless trio that ever set out to hatch a plot. 
The comedy scenes did not quite get over. Their archaic 
humor has to be humored. Hubert Druce as Dogberry was too 
insistent in making his points. There was a nice-toned Balthazar 
in Nigel P.arry, an impressive Friar in Bertram Marburgh, and 
a highlv characteristic Verges in Malcolm Bradley. 

The scenic investment was beautiful and appropriate and the 
costumes so sumptuously rich and heavy that they literally 
swamped some of the performers. 



HUDSON. "THE FIGHT." Play in four acts by Bayard Veiller. Pro- 
duced on September 2 with the following cast: 

Cyrus Judson William Ilolcleti 

Edward Thrcckmorton. . .Robert Kegereis 

Thomas Gaines Charles Sturgis 

May Laporte Olive Murray 

Factory Child Eva Esmond 

Piano Player G. M. Kling 

Pearl Haskel Cora Adams 

Politician Fred Moore 

Gladys Teanette Despres 

Madeleine Sarah Whitef ord 

Pansy Elza Frederick 

Lizette Mary Orr 

Edward Keeler Charles Halton 



DnctiH- Root Felix Krembs 

Kl\vard Norr!s Malcolm Duncan 

Mrs. Kdward Norris. .. Margaret Gordon 

Mrs. Tliomas Ada Boshell 

Tom Davis Raymond Van Sickle 

Ililen Thomas Clara Mersereau 

Daisy Woodford Frances Stamford 

Gertie Davis Margorie Wood 

Jane Thomas Margaret Wycherley 

Watson Del Le Bar 

Messenger Hoy John Dugan 

Jimmy Callahan William McVay 

Senator Woodford. .. Edward R. Mawson 



This play has achieved much notoriety. Pages have been de- 
voted to it critically, editorials by the foot have been launched 
against its ethical and sociological claims, and finally the police 
stepped in. Perhaps there was method in Mr. Bayard Veiller's 
madness in presenting his play as he did ; for rumor has it that 
when it was first produced in the West it did not contain the 
second act, which has raised such clamor. In reference to this 
act there is no doubt that it is a very bold and life-like presenta- 
tion of a phase of life, old as the centuries which, cope with as 
they will, sociologists have not yet been able to either eliminate 
or reform. Some authorities have waxed very furious over its 
presentation, holding it to be immoral, obscene and degrading. 
The words in the dialogue are brutally frank, but not salacious. 
The action therein contained is the proceedings of degraded per- 
sons. What they do, however, will never lead to imitation. 
Whether such happenings should have any place on the stage 
resolves itself simply into a question of taste, good manners and 
polite decency. The brutal and the ugly have no place in the 
arts unless they sincerely serve a purpose, and herein is the 
weakness of this much-discussed act. It is not really necessary 
to the development of the playwright's theme. It would seem 
rather to be an adventitious innovation introduced solely to 
secure what is now known as "the theatrical punch." Eliminate 
this scene, and with a few verbal changes "The Fight" can stand 
on its merits as a bright, original and entertaining comedy, for 
however serious the intentions of the heroine are, her most 
dramatic moments have a tinge of the farcical. 

Jane Thomas is not only the head of her family, but the head 
of a Trust Co., founded by her father. She resolves to run for 




White 



May De Sousa 



George MacFarlane 



Act I. The butler interrupts love scene 
SCENE IN THE NEW OPERETTA, "LIEBER AUGUSTIN," NOW BEING PRESENTED AT THE CASINO 



THE THEATRE MAGAZINE 




construction, bustling action and genuine 
humor. This role is assumed by Margaret 
Wycherley, the author's wife, who enacts the 
exacting role with the most gracious personal 
charm and professional technic. Hers is a real 
histrionic triumph. The cast in its entirety 
is excellent. William McVay, in voice and 
bearing, splendidly suggests the local boss ; 
Edward R. Mawson handles with admirable 
discretion a most repulsive role. The keeper 
of a disorderly house is pictured in graphic 
colors by Cora Adams, and Miss Margorie 
Wood plays a comedy role with humor and 
effect. 



White 



Mary Alden Clara Beecher Harvey Beecher 

(Julia Dean) (Beverly Sitgreaves) (George Hassell) 

Harvey Beecher gives Mrs. Alden his check while his wife watches the transaction 
SCENE IN MARK E. SWAN'S PLAY "HER OWN MONEY," AT THE COMEDY 

the mayoralty of a small town in Colorado. Her family violently 
oppose, out she resolves in her course as she is determined to 
solve the child labor problem, improve the morals of the town 
and generally work out one of those moral milleniums that all 
the reformers of the present day are so eagerly seeking for. 
Then her troubles begin. Politicians, Federal and local, oppose 
her by fair and foul means, not the least of which is a run on 
her Trust Co., which they bring about. How she shows up the 
moral viciousness of a United States Senator, how she wins over 
to her side a political heeler; how by her wit and resourcefulness 
she saves her bank and how she wins the mayoralty and the hand 
of an altruistic doctor, are all retailed in three acts of ingenious 



GAIETY. ''NEARLY MARRIED." Farce in three acts 
by Edgar Selwyn. Produced on September 5 with 
the following cast : 

Hattie King, Virginia Pearson; Hotel Page, Harry Loraine 
Maid at the Hotel, Mabel Acker; Betty Lindsay, Jane Grey. 
Gertrude Robinson, Ruth Shcpley; Tom Robinson, Marl 
Smith; Waiter, Wm. Phinney; Harry Lindsay, Bruce McRae 
Dick GitTon, John Westley; Prince Banjaboulle, Schuyle 
Ladd; Norah, Georgia Lawrence; Peter Doolin, Robert Fisher 
Chauffeur, Wm. Phinney; Hi. Satterlee, Delmar E. Clark 
Jack Brooks, Harry Loraine. 

In the new offering at the Gaiety Theatre, 
Mr. Edgar Selwyn has written a farce estab- 
lished on the true and well-tried lines laid 
down by Scribe and Hennequin and followed 
thereafter by every other playwright who 
achieved success at the Palais Royal and other 
theatres of that kind in the French capital. 
"Nearly Married" owes a large part of its 
success to its nice, mechanical quality. That is 
to say, its action is clock-like in its precision. 
While the one complication which follows the 
other seems logically to grow out of its prede- 
cessor, the greatest care and ingenuity have 
been brought to bear to bring about this 
crescendo of comic action and effect. This is 
not to say that "Nearly Married" is lacking in 
spontaneity. Describing its method of con- 
struction is only to fix its place in the theatrical 
repertoire. It is a good farce of its kind. 

There are three classes of playgoers who 
will find themselves in front at performances 
of "Nearly Married." First there is the 
element that revels in broadly drawn character- 
ization, swift action and constantly succeeding 
scenes of funny misunderstanding and comic 
complications. "Nearly Married" will raptur- 
ously appeal to this element. There is a second 
class which prefer the acting to the medium ; 
it will find the cast almost universally satisfac- 
tory. And there is still a third contingent to 
which Mr. Selwyn's farce will appeal less. 

The constant interference of a brother has 
driven Harry and Betty Lindsay into the 
divorce court. Chance brings them, two of 
their friends and "the professional co-re- 
spondent" together in one of the waiting rooms of a Fifth 
Avenue hotel. First visibly annoyed that her husband should be 
taking tea with Hattie King, the co-respondent, the wife, under 
Harry's fervent plea that he has never ceased to love her, urges 
her to elope with him to his place on the Hudson. After a hasty 
exit the brother appears and is informed of the situation. "Im- 
possible !" he exclaims; "an absolute decree has just been signed. 
They are no longer man and wife ; if they are not overtaken, my 
sister is a ruined woman." 

Act two and the final one take place at the Cherry Tree Inn 
near Oscawana. Fate, rain and broken bottles, the machinations 
of a wily innkeeper who would not have automobile trade go by 



THE THEATRE MAGAZINE 



his door, bring the Lindsays, their two friends, Mr. and Mrs. 
Robinson, and Hattie King, the co-respondent, all together 
once more. To this add a justice of the peace, who would 
collect his rent and politely blackmail. Let there be a very 
limited number of rooms into which everyone gets at the 
wrong time and you have your complications which find their 
climax when a bolt of lightning sets fire to the garage, where, 
after more rushing in and out, accompanied by red fire, a 
satisfactory solution of all is brought about. 

Bruce McRae is featured as Harry Lindsay and a very en- 
gaging, human and attractive impersonation he makes of it. 
He is gracefully and prettily supported by Jane Grey, as his 
wife, and by Mark Smith, as the stolid, blundering and 
hungry Robinson, and by Ruth Shepley, very fair to look on, 
as his better-half. Virginia Pearson, as the co-respondent, 
sketches a Broadway type with becoming verisimilitude. The 
Indian innkeeper, Prince Banjaboulle, once at Sherry's, and 
his Irish wife, formerly of the cloak-room, are neatly and 
humorously portrayed by Schuyler Ladd and Georgia Law- 
rence. Robert Fisher is droil as the justice of the peace, and 
John West'.ey makes an explosive brother-in-law. Harry 
Loraine and William Phinney are excellent in character bits. 



THIRTY-NINTH STREET. "BELIEVE ME XANTIPPE." Play in 
four acts by Frederick Ballard. Produced on August igth with this cast : 



George MacFarland. . . .John Barrymore 

Arthur Sole Alonzo Price 

Thornton Brown Henry Hull 

"Buck" Kamman Theodore Roberts 

Simp Galloway Frank Campeau 



"Wrenn" Rigley Earle Mitchell 

William M. Tello Webb 

Martha Alpha Beyers 

Violet Katherine Harris 

Dolly Kamman Mary Young 



Magnetism is a very valuable theatrical asset. The Barry- 
more family has always been strong in this particular. 
Memory holds dear the recollection of Maurice and Georgie 





Copyright, 1913, Charles Frohman 

Paula Marr and William Collier in "Who's Who," at the Criterion 

Drew, parents of Ethel and Jack Barrymore, who of them- 
selves are as talented and popular as any of the younger 
generation of players. John Barrymore's personality is quite 
remarkable. Handsome, alert, vivacious and resourceful, he 
is a born farceur; nor is true feeling lacking when called for. 
The mooted question as to whether play or player is the real 
drawing equation finds a prompt answer in the production of 
"Believe Me Xantippe" at the Thirty-ninth Street Theatre. 
Without Barrymore in the leading role it would be rather 
thin entertainment which Mr. Frederick Ballard has to offer 
in his prize play in four acts. Mr. Ballard is a Harvard man, 
and under the tutelage of Prof. George P. Baker, evolved the 
piece which won the John Craig prize, offered annually for 
the best play evolved by an undergraduate. The piece had 
a good run in Boston. 

George MacFarland has been robbed. Disgusted, he in- 
veighs against the stupidity of the police. A friend takes the 
side of the bluecoats and detectives and from the argument 
which follows a wager is entered into between them. Mac- 
Farland commits a polite and friendly forgery and then bets 
the modest sum of $10,000 that he'll keep out of the law's 
clutches for a year. This is the first act and as may be seen 
is nothing but talk that the premises may be laid. It is acted 
with lightning speed and so doesn't bore. Now the scene 
changes to the West. The year has almost expired when 
MacFarland, hungry and tired, finds himself in a hunting 
shack in Colorado, the sole occupant of which is Dolly Kam- 
man, the daughter of a sheriff. Suspecting him to be the 
fugitive for whom a big reward has been offered, she gets 
the drop on him and arrests him. Then ensue alternating 



Copyright, 1913, Charles Frohman 

William Collier as Soapy Sam in 



'Who's Who" 



THE THEATRE MAGAZINE 




Copyright, 1013, diaries Frohnian 



Hattie Williams Richard Carle 

Act II. Marquis: "This is not love it's massage" 
SCENE IN "THE DOLL GIRL." NOW BEING PRESENTED AT THE GLOBE 



scenes of comedy and drama, "a bad man" figuring in the latter, 
in which first he wins and then she; but she gets him to jail 
where the third act takes place. Here there is plenty of comedy, 
much of it highly effective and genuinely amusing. Of course, 
MacFarlaud eventually wins his bet and the hand of the sheriff's 
daughter as well. 

Mr. Ballard s idea is a most happy one. It contains great 
comic possibilities. It is not to be denied that the action raises 
a lot of genuine laughter, but the treatment for all that shows 
the lack of a practiced hand, and without Mr. Barrymore's facile 
and engaging methods, would fall very short of the actual results 
obtained. He is quite delightful. Mary Young, as the sheriff's 
daughter, is expertly engaging, and Theodore Roberts, destined 
evidently for life to wear on the stage nothing but sombreros 
and jack-boots, is the sheriff. His deputy is capitally played by 
Earle Mitchell, and a Western desperado and his "soul mate," 
Violet, one of those fragile flowers of a mining camp are acted 
by Frank Campeau and Katherine Harris. Each is excellent. 



BELASCO. "THE TEMPERAMENTAL JOURNEY." Play in three acts, 
adapted by Leo Ditrichstein from Andre Rivoirc and Yves Mirandc's 
comedy, "Pour Vivre Heureux." Produced on Sept. 4 with this cast : 



Jacques Dupont ......... Leo Ditrichstein 

Prof. Roland ........... Henry Bergman 

Bernon Neil .............. Frank Connor 

Billy Shepherd .............. Richie Ling 

Dorval ................ Edouard Durand 



Ho 

Carrington McLiss ........... Lee Millar 

Tamburri ............ M. Daniel Schatts 

Roy ..................... E. R. Wolfe 

Max ..................... E. W. Grant 



Edna Caree Clarke 

Eleanor Anna McNaiighton 

Marjorie Dorothy Elis 

Lina Annette Tyler 

Messenger William Dixon 



ard Locke Julian Little Delphine Isabel Irving 

Maria Josephine Victor 

Fanny Lamont Cora Witherspoon 

Teresa Gertrud Morisini 

Maid Alice Jones 



"The Temperamental Journey," adapted by Leo Ditrichstein, 
from the comedy, "Pour Vivre Heureux," by MM. Rivoire and 
Mirande, is more than a mere reproduction of the French play. 



It lias been freely adapted for our stage with all the objection- 
able features of the original either modified or omitted. The 
story is romantic, sentimental, but not perhaps unusual in litera- 
ture or the thoughts of men. An artist, of personal and artistic 
worth, unable to sell his pictures, and consequently in poverty 
and despair, determines to throw himself into the river and rid 
himself of his troubles. His wife does not appreciate him; his 
model, a true-hearted and appreciative creature, on the other 
hand, is sympathetic. A body is found, recognized as his, and 
the funeral is held. He returns home secretly while the funeral 
is in progress; meets a fellow artist who is his devoted friend 
and determines to remain dead. The wife remarries. He 
spends several years in Paris and returns with other pictures 
that he has since painted. He is led to disclose himself by his 
former wife's attempt, by the sale of his pictures, to introduce 
certain spurious canvasses. Eventually he marries the model, 
who has been faithful to his memory. 

It is almost entirely in the handling of the many incidents 
belonging to this story that the charm of the play consists 
Without this handling in the acting and in the minute de- 
velopment of all the opportunities, the play would not be 
effective. As it is, it is a P>elasco success. Mr. Ditrich- 
stein, as the artist, gives a finished performance, handling 
with delicacy and humor his scenes in such a way that the 
gruesome is entirely absent. Isabel Irving, as the wife, gave 
a performance that shows her vastly improved in her art tinder 
Mr. Belasco's training. Her performance is one of the best things 
she has done. Other performances were proportionately admir- 
able, that of Richie Ling, as Billy, the close friend of the artist : 
that of Josephine Victor, as that of the faithful model; that of 
the others, without exception, in minor parts. 




THE THEATRE MAGAZINE 



LYCEUM. "WHERE IGNORANCE Is BLISS." Comedy in three acts by 
Ferenc Molnar. English version by Philip Littell. Produced on September 
3rd last with the following cast: 



The Actor 

The Actress. . . 
The Critic 



.William Courtleigh 

Rita Joliyet 

...Frederic de Belleville 



The Mamma Florine Arnold 

The Maid Marion Pullar 

The Bill Collector Kevitt Manton 



"Where Ignorance is Bliss," served at least to show the dis- 
tinct literary and artistic qualities of Molnar, the Hungarian 
author, who was first introduced to this public with "The Devil." 
As an acting play it had, of course, all those evidences of skill 
which are to be expected from an author who always has a pur- 
pose and who knows how to handle a story and its characters. 
It was soon apparent, however, almost from the beginning of 
the performance, that these characters were entirely foreign to 
us, and that the play was to be a study of conditions that we 
know nothing of. A beautiful and famous actress, with a hus- 
band equally famous, is unstable in her affections, and at this 
time is dreaming of some new lover. Her husband understands 
her mood from her constant playing of Chopin, which he has 
eason to know is the sure sign of her wandering thoughts. She 
has had many lovers. He is a study of the continental artist 
who lives on his vanity and selfishness. His selfish self-esteem 
is piqued by his wife's present indifference and her receptive 
mood for a new affair. He has reason to believe that her fancy 
has been caught by an Officer of the Guard who has been passing 
the window of late. He confides to a friend of the family, a 
dramatic critic, a plan. His wife has not become personally 
acquainted with this new object of her affections. He sees his 
opportunity to disguise himself as this Officer and test his wife. 
The action of the play turns on the carrying out of this enter- 
prise. It is not improbable that he could impersonate this Officer, 
for he is an actor. In other circumstances, this part of the play 
might be very trivial ; but it is really a study of character. He 
visits his wife in her box at the opera and feels sure that he 
had laid bare her new love affair. Later, when he charges her 
with her conduct, she professes to have known his identity all 
the while. This seemingly slight story is diverting as acted, but 
the whole play is too subtle for our audiences. The play could 
not have been better produced than it was by Mr. Fiske. A 
small cast was admirably chosen : William Courtleigh, as the 



actor; Rita Jolivet, a beautiful, animated and graceful newcomer, 
as the actress; Frederic de Helleville, excellent as the critic, and 
Florine Arnold as the actress' Mamma. 

COHAN. "POTASH AND PERLMUTTER." Play in three acts based on 
Montague Glass' stories. Produced on August i6th with this cast: 



Mawruss Perlm utter. 
Abe Potash 
Marks Pasinsky 


. . . .Alexander Carr 
. . . Barney Bernard 
Lee Kohlniar 
.Joseph Kilizour 


U. S. Deputy Marshal. .. .James Cherry 
U. S. Deputy Marshal. .Harry S. Aarons 
Felix Scnocn Fred. Carter 
Ruth Snyder .. .Louise Dresser 


Boris AndriefT 
Mo?art Rahi tier 


Albert Parker 
.... Leo Donnelly 


Mrs. Potash Klita Pro, tor (His 


Henry Steuerman. . . , 
Senator Sullivan 
Book Agent 
Sidney 
Expressman 


.... Stanley Jessup 
. . Kdward Gillespie 
.Arthur T. 1'ickens 
.... Kusscll Pincus 
Dore Rogers 


Irma Potash Marguerite Anderson 
Miss Levine Grace Fielding 
Miss O'Jiricn Doris Easton 
Miss -Potchley Dorothy Landers 
Miss Nelson Marie Baker 



It is a maxim of. managers, that business is not an agreeable 
or profitable subject for handling on the stage. "Potash and 
Perlmutler" is distinctly a play relating to the every-day inci- 
dents and the conduct of a business, and that business of a dis- 
tinctly prosaic kind ; and yet, of all men, the "tired business 
man" will find his pleasure and relaxation in it. For the most 
part, it concerns the making or the losing of money, with 
amusing aspects in either case. The play is made up from stories 
by Montague Glass. It has a plot that permits of the introduc- 
tion of many incidents, and these incidents are more interesting 
than the story for they are absolutely true to life, while the 
story is not. However, the story answers the purpose of hold- 
ing the play together, so that its insignificance is a small matter. 
The plot concerns the efforts of the firm to help their book- 
keeper, a political refugee from Russia, who is arrested for 
extradition. In going on his bond, they are about to lose every- 
thing. A climax of this sort would seem to be, in the recount- 
ing, in the nature of a business tragedy, but like everything else 
in the play, it is comedy. To say this sufficiently indicates the 
spirit of the play. There is a reason why this bookkeeper should 
be protected. He is engaged to the daughter, so to speak, of 
the firm. Miss Potash is to marry this attractive young man, 
who is a musician, a composer, and really has not committed the 
murder with which he has been charged. The story, it will be 
seen, involves some touches of domestic sentiment, but, if the 
truth must be told, there is as much fond sentiment as to money 
as there is to anything else. If it were (Continued on page Lr) 




White 



William Courtleigh Rita Jolivi Frederic de Belleville 

Act II. The actress does not recognize her husband in the handsome soldier 
SCENE IN "WHERE IGNORANCE IS BLISS," RECENTLY PRESENTED AT THE LYCEUM THEATRE 




White 



Jane Thomas (Margaret Wycherly) confronts the corrupt politicians with one of the little victims of their system 
SCENE IN BAYARD VEILLER'S MUCH DISCUSSED PLAY, "THE FIGHT," AT THE HUDSON THEATRE 



NEW YORK has just 
emerged from a theatri- 
cal situation as critical 
as any in its history. On September 9, two plays, "The Lure" 
and "The Fight," which respectively opened the Maxine Elliott 
and the Hudson Theatres, were withdrawn by warrants issued 
by Chief Magistrate McAdoo on the grounds of indecency and a 
tendency to corrupt public morals. The managers of these plays, 
Mr. Lee Shubert and Mr. William Harris, while insisting that 
the purpose of the plays is moral, and that they were carrying 
on the war against what is called white slavery, immediately 
yielded to the law, but proposed that, instead of waiting for a 
jury trial to determine the question, special performances of 
"The Lure" and "The Fight" should be given for the benefit of 
the Grand Jury, to which body the case had been transferred. 

In the case of "The Fight," a hurried revision was made, and 
the second act, which had been laid in a disreputable house, was 
cleansed and public performances were resumed. A similar pro- 
cess with "The Lure" was not possible, but, on the night of 
September nth, a performance of this play was given for the 
Grand Jury. Decision was withheld for some days, but on Sep- 
tember 1 6th it was announced that, following the receipt of a. 
letter from Mr. Lee Shubert, in which that manager agreed to 
have the offending play rewritten so as to eliminate all the ob- 
jectionable passages, the Grand Jury, on the recommendation of 
Assistant District Attorney Bostwick, had decided to drop its 
inquiry. The investigation of "The Fight" since the play has 
appeared in its new form also has been discontinued. Both Mr. 
Shubert and Mr. William Harris, manager of "The Fight," were 
technically under arrest when they appeared in Court, but upon 
their promise to withdraw the two productions they were released 
on their own recognizance. 

The public is, after all, at least in this country, the final censor 
of art from a moral point of view, and in the case of these plays 
public opinion has been divided, many people objecting to the 
frankness of the dialogue and the repulsive nature of the theme, 
while reform workers, who are supposed to be acquainted with 
the evil of which it treats, insisted that the continued production 
of the plays would do good. It seems to be true that playgoers 
proper have acquired a distaste for the so-called Red Light 
dramas which treat of evils hardly to be lessened by promiscuous 
and irresponsible debate. In their hands, then, the fate of such 



plays might well be left. When 
Bernard Shaw's outspoken 
play, "Airs. Warren's Profes- 
sion," was first stopped by the police and then suffered to 
resume, the public stayed away, and the piece died a natural 
death. "Any Night," one of the small pieces shown last winter, 
would have closed the Princess Theatre if it had been expanded 
into a three-act play. It was tolerated because companion pieces 
differed so widely in theme and treatment. "Damaged Goods" 
obtained and held its place on our stage through the fostering of 
a society whose aims are not at all theatrical. It. was accepted 
as a medical thesis rather than a play. Moral purpose is too 
often used as a cloak for indecency, and under it many books, 
many plays which are offensive managed to survive. In theatri- 
cal history, however, epochs are found in which the same surfeit 
is felt by the public that appears to have been reached now, and 
then the playgoers themselves banish the offending production. 

The tremendous interest suddenly taken in the Red Light 
drama is not, of course, aroused by literary or dramatic values. 
With such plays the usual tests applied to stage pieces fail. 
Either they are moral lessons or they are not moral lessons, and 
this is what divides audiences between enthusiastic approval and 
deep disgust. A play should always teach a moral ; a good play 
subtly does ; few successful plays do not. Precisely what we 
are expected to learn from a succession of plays based on the 
crusade against an unmentionable evil, remains to be found out. 
Perhaps we may venture the opinion that the stage is not the 
place on which to fight such crusades. To make a drama a 
poor, crude, mechanical drama of the subject it is necessary to 
take for protagonists types that are frankly exceptional. Now 
the drama, to be widely useful, cannot be confined to narrow 
possibility ; its types must be broad, its teachings general. That 
is one good reason for putting the Red Light play out of the 
theatre. Another is that the lesson it teaches is repulsive and 
immoral. The stage is no place for these distressing lessons. At 
the beginning of each season, the object seems not to search for 
the great themes of life and love, but to find out what is the 
prevailing madness and to stage it merely for the sake of making 
money. This year it is the white slave traffic. Besides the plays 
already anchored, others hover in the offing, each one prepared to 
hoist its red flag of invitation. Have our dramatists no higher 
aim than to dramatize contemporary excitements? 



TO awake next morning and 
find oneself famous that 
was the experience o f 
Natalie Alt, the charming little 
prima donna of "Adele," following the production of that 
charming new musical comedy at the Longacre Theatre. "Who 
is she? Where did she come from? So young a girl and with 
such a voice !" These questions and comments were heard on all 
sides of the theatre on the opening night when Miss 
^^M^^^^^ Alt first came on and rendered the Adele song, one 
fl B of the best numbers in the piece. Her fresh, young 

voice, excellent technique and admirable poise, 
astonished and delighted her hearers, and her charm 
of manner and quaint personality had completely 
^) won them long before the final curtain fell. Miss 
Alt > s a ^ ew York girl and prior to going on the 
stage studied two years at the Metropolitan Opera 
Leaving there, she entered the musical comedy field, 
singing in the chorus and her voice remaining unnoticed until 
last year when she understudied Ina Claire in "The Quaker Girl." 
Audiences liked her so well that she was sent out to head the 
second company of that production. Previously she had appeared 
with Richard Carle in "Jumping Jupiter," and also in "Little 
Nemo.'' Then came the golden opportunity that sooner or later 
knocks at all our doors. "Adele" was scheduled for immediate 
Broadway production. Audrey Maple had been selected for the 
title role, but after rehearsing three weeks Miss Maple found she 
was bound by a former contract. In a dilemma, the management 
looked around for a substitute and someone suggested Natalie Alt. 



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Natalie Ait 



School. 



A STRIKING figure in the amusing farce, "Believe Me 
Xantippe," at the Thirty-ninth Street Theatre, is the pic- 
turesque sheriff "Buck" Kamman, admirably acted by Theodore 
Roberts. Nearly fifteen years have rolled by since Mr. Roberts 
made his first hit on Broadway. That was when he created the 
part of Canby in "Arizona." For the first time a tenderfoot 
New York audience saw the real Western ranchman on the 
stage. Mr. Roberts is a native of California and 
first appeared at the Baldwin Theatre, San Fran- 
cisco, in 1880. He came to New York and for a 
time was with Robson and Crane at the old Fifth 
Avenue Theatre. Returning West, he joined a barn- 
storming troup which toured the Pacific Coast, but 
after a few years of this precarious existence he 
became disgusted with the theatre and went to sea 
in command of one of his father's schooners. He 
has never regretted this nautical experience. It gave him a new 
outlook on things. The free outdoor life on the sea freshened 
his art and gave it the healthy brusqueness which is its chief 
power and charm. But he could not remain away from his first 
love, the stage, and joined the company of the late Fanny Daven- 
port, remaining with that actress eight years. He also acted with 
Adelaide Neilson and Lawrence Barrett. His most recent New 
York appearance prior to his present engagement was as Captain 
Hatch in "The Bird of Paradise." 




Theodore Roberts 



'"PHE first performance of "The Family Cupboard," at the 
Playhouse, brought immediate popularity to an actor hereto- 
fore unknown on the legitimate stage, but who has long been a 
great favorite in vaudeville. His name is Franklyn Ardell, and 
in Owen Davis' interesting, if somewhat unsavory, 
drama he is seen as the "tough" dancing partner of 
the seductive little siren, Kitty May. As the flashy, 
thieving hanger-on, Mr. Ardell gives an impersona- 
tion astonishingly true to life. One forgets for the 
moment that it is only acting. Mr. Ardell, who has 
long enjoyed a reputation in vaudeville, is quite 
familiar with the type he portrays so well. As Dick 
Le Roy, vaudevillian, in "The Family Cupboard," 
he congratulates himself because he is doing "the big little time 
at 80 per." In real life, prior to his present Broadway debut, lie 




Franklyn Ardell 



was featured on the vaudeville 
stage as Ardell & Co., and as he 
headed the electrics on the 
Orpheum Circuit in the West it is 
a safe venture to say that it was not at 80 per. While he was 
making his first success in vaudeville he never ceased yearning to 
"make good" in the legitimate. He proved his sincerity by join- 
ing good dramatic companies between seasons. He was with 
Margaret Anglin for a time, and also acted with other companies. 




Irene Fenwick 



T T P to the time she astonished a first-night Broadway audience 
by her clever performance of Kitty May in "The Family 
Cupboard," Irene Fenwick's reputation had rested chiefly on the 
fact that she is an extremely pretty girl. But she soon tired of 
flattering notices telling her merely that she was 
sweet and charming. She was ambitious to be some- 
thing more than a wax figure. So, at last, in sheer 
desperation, she went to her managers and insisted 
that they give her a part which would afford her an 
opportunity to prove that she can really act. Miss 
Fenwick is a Chicago girl and made her stage debut 
a few years ago in a small part. Later she was seen 
in "The Speckled Band," "The Zebra," and "The 
Brass Bottle." The first important role entrusted to her, and in 
which she attracted any attention, was when as Princess Overitch 
she appea- ed in support of Douglas Fairbanks in "Hawthorne of 
the U. S. A." The press notices she received on that occasion 
were sufficiently encouraging for the managers to put a mark 
against her name as a future possibility, and when W. A. Brady 
began to select the cast for "The Family Cupboard," he could 
think of no one better suited to the part of the pretty adventuress 
than Irene Fenwick. He was not mistaken in his judgment. As 
the "woman in the case," a role at once unsympathetic and un- 
savory, the young actress has scored a decided success. She acts a 
difficult part with the tact and intelligence of a veteran player. 




TN "When Dreams Come True," the new musical comedy at the 
44th St. Theatre, the audience is kept in a constant convulsion 
of laughter by the antics of Matilda, a grotesque country wench 
who insists on getting married, no matter to whom. 
May Yokes, who plays the part, has specialized in 
similar roles for many years. Every player soon 
finds his or her place on the stage. This actress 
found hers in the interpretation of the ludicrous 
the creation of laughter-provoking slaveys and coun- 
try cousins. Miss Yokes, who is a Western girl, 
made her first Broadway hit some twelve years ago 
in Du Souchet's farce, "My Friend from India," in 
which her gift of dry humor at once revealed itself. After that 
she scored again in "Checkers." Six years ago she made her 
debut in the musical comedy field, sharing with Frank Daniels 
the honors of ''The Tattooed Man." Then she was seen in Chi- 
cago in "A Knight for a Day," and "The Flirting Princess." 
Last season she played the principal comedy role in "The Quaker 
Girl." Besides carrying off these honors on the legitimate stage, 
Miss Yokes has endeared herself to the vaudeville world, where 
for several years she has appeared as a headliner. 



May Yokes 



of the most repellent characters in "The Lure" is that 
of the Cadet. It goes without saying that George Probert, 
who plays the part so realistically, is not as deep-dyed 
a villain as he appears. Mr. Probert was born in 
Erie, Pa., the son of a clergyman. It was after read- 
ing the career of a famous tragedian that he became 
ambitious to be an actor. He went to England, and 
failing to gain a foothold there, returned to America 
and joined a repertoire company in Baltimore. After 
that he played in "When Cupid Outwits Adam." and George Prob( . rt 
then his luck changed. W. H. Crane saw the play, 
noticed the young actor, and engaged him to create the role of 
Lenox in "David Harem." Y. D. G. 




Sothern amid Marlowe An Estimate 



By OSCAR W. FIRKINS 



'HE present writer recently attended seven 
consecutive performances of Sothern and 
Marlowe in Shakespearean parts with the 
wish to complete and combine and incidentally, 
likewise, to correct or confirm the divided and 



Hall 

Mr. Sothern as Petruchio 



THE present writer recently attended seven unsuggested by the ordinary movement of his brisk, 
consecutive performances of Sothern and energetic speech. 

He is extremely variable in the extent to which 
he breaks up and differentiates his elocution. 
There are passages where he rough-hews his text, 
scattered impressions of various earlier visits, handing it out to us in compact, parallel blocks ; 
The popularity of these artists and the rarity elsewhere he carries analysis to a point where it 
of critiques which embrace any larger section of verges on dissolution. Both he and Miss Marlowe 

are capable, on occasion, of a vocal mosaic-work, 
of curious, almost fantastic, variegation and com- 
plexity. Now and then, on the contrary, the utter- 
ance of Mr. Sothern is so measured, not to say 
mathematical, that he all but scans his lines, coming 
down on each accented syllable with the precision 
of Dr. Johnson in touching the London posts. 
This foible is more curious than grave. Less for- 



their work than a single performance to say 
nothing of the rarity of serious criticism in any 
form in matters histrionic are the best excuse 
he can offer for inviting the readers of THE 
THEATRE MAGAZINE to participate in the fruits 
of his observations. 

The excellent settings given the Shake- 
spearean plays, the selection of a company on 




the principle of the erasure of all inequalities gettable and less excusable is the over-emphasis 



White 

Miss Marlowe as 
Viola 



beyond those which secure justice in the proportions, the realiza- that dilates certain words to unnatural and disproportionate 

tion of the existence on this planet of a thing called blank verse, dimensions, all but dislocating and unseating them from their 

the amplification of the dialogue by bits of stage-business at once place in the contexture of the sentence. 

daring and adroit which add lifelikeness, and sometimes even Mr. Sothern conceives characters clearly at the start, but I 

poetry and imagination, to the text these things we may pass find him somewhat unsure in the point of fidelity to his own 

by with the lightness proper to topics on which unanimity conceptions. He is not altogether superior to that artistic ter- 

makes debate impossible. Our concern is mainly with the two giversation which strengthens a passage at the cost of an indi- 



outstanding personalities. 



viduality. Below are specified two or three instances in which 



That the 'repute of Edward H. Sothern as an actor has been a character forks, as it were, in the middle of a play, and the 
aided by his association with Miss Marlowe, by his gifts as two halves pursue a divided and divergent course toward the 
stage-manager, by that life-long cult of Shakespeare, which, in consummation. His successes are fairly well partitioned between 
our helpless and servile modernity, is in itself an apostleship if tragedy and comedy. The "gentleman" is conspicuous in his 
not a martyrdom, is probably not to be gainsaid; but the infer- nature, and it is noteworthy, that he excels chiefly in a tragedy 
ence that the head and front of his deserving as an actor is not too violent and in a comedy not too boisterous to permit the 
comprised in these advantageous accidents would be quite unjust full demonstration of that propitiating quality. The transcend- 
to his actual capacities. His personal powers are real, though ence of his "Hamlet" among all his parts redounds greatly to the 
he sometimes sets us the bad example of denying them. The credit of his seriousness and his intelligence, 
reversions to mediocrity are frequent; and his average parts or His Petruchio is conceived with a penetration and felicity 
moments leave the hearer quite uns'uspicious of the heights that give one a strong fellow-feeling for the critic who declared 
commanded by his crowning moments and his nobler parts. He it the very best of Sothern's roles. The distinction between 
keeps expectation unsettled ; admiration vibrates in perplexed rioter and rowdy was never more consummately demonstrated 



search for the point of equilibrium between inadequacy and excess. 

His action one partly perceives, partly in- 
fers, to be happy; in his movements, indeed, 
there is sometimes a felicitous darting swift- 
ness which gives almost a lyric quality to 
gesture. His presence is satisfying, and he 
has a voice of vibrant and mellow quality, and 
of a power and endurance, which are some- 
times half a misfortune, since, like Antonio 
in relation to the spendthrift Bassanio, they 
sustain him in all his indiscretions. He is 
not frugal of his voice, and there come mo- 
ments when one would like to remind him of 
sundry shrewd cautions in Hamlet's address 
to the players which have passed in his case 
into the oblivion of familiarity. One is 
tempted at times to affirm that his power is 
always in inverse ratio to his energy : one 
ends by not saying it, but by wishing that 
someone else would. His work is check- 
ered, somewhat sparcely, with exquisitely 
quiet one might almost say lurking 
and secretive touches, now of pathos 
("except my life, except mv life'"} 
now of weary scorn ("these tedious 
old fools"), which open like hid- 
den panels or trap-doors to 
disclose depths of emotion 
and mystery quite 
un revealed and 




Miss Marlowe and Mr. 

Sothern in "Romeo and 

Juliet" 



than in the earlier parts, at least, of this swashing yet manlv 
impersonation. The riot is half boyishness and 
half masquerade, and the gentleman is no more 
unsettled by the madcap than a party of nobles 
banqueting in the castle hall are disturbed by the 
rumor of brawling squires and yeomen in the 
courtyard. Later, Mr. Sothern lapses a little 
from this state of artistic innocency; with Shake- 
speare and the audience both decoying him, the 
descent into farce was all but inevitable; the two 
priceless things, the effect of gay nonchalance 
and the feint of benevolence are not evenly sus- 
tained ; and the man who ought to have tamed his 
wife, as it were, in by-play, goes at his task with 
a laboriousness more questionable than his rigor. 
At its earliest and best, however, the part is in- 
spiring and impeccable. 

Mr. Sothern offers, in my judgment, a leaden 
and edgeless Benedick a Benedick over-empha- 
sizing himself and his attitude, with more fist 
than wrist in his counterthrusts, with a rustic's 
heartiness and heaviness of laughter at a friend's 
proposal to commit the enormity of marriage, 
with a trace, lastly, of the vaudeville actor in his 
lover's finery. He improves greatly in the later 
acts when the appeal to his chivalrous and gallant 
instincts recalls to the surface that mixture of 
manhood and breeding which Mr. Sothern excels 
in setting forth. 

A modicum of sense i? the seasoning of folly, 



Ophelia Hamlet 

(Julia Marlowe) (E. H. Sothern) 

Act III. Scene 1. Hamlet: "Get '.hee to a nunnery. Why, wouldst thou he a breeder of sinners?" 
IN THE SOTHERN-MARLOWE PRODUCTION OF "HAMLET" AT THE MANHATTAN OPERA HOUSI 




I2O 



THE THEATRE MAGAZINE 




and, in the Malvolio of this actor, fatuity is too complete to be 
effective. I question the fitness of making the character both 
feathery and ponderous, now sleek and mincing, now shaking 
the rafters with anathemas against the 
disturbance of houses by unseemly 
noise at midnight. The weariness 
which a strut, even when helped out 
with a simper, with leave thrown in to 
laugh at both, excites in average 
humanity is proved by the strange 
solace which the spectator feels even in 
the pathetic outcries, as insistent and 
clamorous as the notes of a tocsin, 
which Malvolio gives out from the 
loneliness of his dungeon. This is 
strong and touching, far better than 
the comedy, but its attachment to the 
rest of the character is left by Mr. 
Sothern to the ingenuity of the subtle 
or the faith of the credulous. Prepara- 
tives, in the earlier scenes, for this 
transmigration, would have enlivened 
the comedy which they qualified. 

Anyone who knows Mr. Sothern's 
turn for thoughtful melancholy might 
have prophesied distinction for his 
Jaques. In point of fact, his Jaques is 
tepid and savorless. The brine in 
which his observation and philosophy Photo Notman 
are pickled is too weak to act as an 
efficient preservative from decay. Jaques, as Mr. Sothern lets 
us see him, is a clean-bodied, sane-minded, amiable fellow, with 
a turn for elocution and a taste for duly tempered epigram, with 
a sound British unwillingness to be interrupted in the progress 
of his meals, and a tactful faculty of taking himself off when 
the stage must be cleared for the parleyings of lovers. A little 
persuasion would have induced him to take part in the minuet 
or coranto that ends the play, and his godfathership to Touch- 
stone's and Audrey's eldest boy seems among the not distant 
probabilities. 

I find Mr. Sothern's Romeo a little mature, a little abstracted, 
a little self-conscious, a little rhetorical ; yet in the main accept- 
able and adequate. A certain incidentally, so to speak, marks 
the position of the Shakespearean Romeo; he is always an 
occasion an occassion for raptures 
in Juliet, for raillery in Mercutio, 
for philosophy in Friar Laurence. 
Mr. Sothern's Romeo accepts this 
subsidiariness meekly, in spite of 
the outburst, in which, with Shake,- 
speare's aid, he succeeds in tearing 
passion to tatters or rather grinding 
it to pulp in his frenzied scene with 
Friar Laurence. The best part of 
Mr. Sothern's Romeo is the fifth act 
when the young man has shuffled 
off his Veronese entanglements, and, 
later, finds his vitality and manhood 
invigorated by the nearness of death. 

The Shylock of this actor is a 
painful, a rather powerful, and (to 
the extent of my knowledge) an 
original creation a creation in 
which contempt and pity are both 

strong, and both, in a way, alleviative of horror. An animal 
quality, rather characteristic of Shylocks and notable in Sir 
Henry Irving's delineation, reappears in Mr. Sothern's work in 
the suggestion of a wolf or jackal, a wild beast at once fierce, 
cowardly, and uncouth. The abandonment in the Tubal scene 
is extreme, but I cannot recall an instance in which hatred as an 



Mr. Sothern as Macbeth 



9To 3fulta Jflarloluf, in "Ctttlftb 

Why, then I think I've been in some day-dream 

Of shipwrecked maid, of gallant love-sick lord, 

Of lady pining for a withheld word, 

Of motley fool, and one whose antics seem 

To clothe a gentle nature gone astray ; 

Of clowns, who badly wield a ribald sword, 

And music, flowers and laughter on a day 

Most excellently placed where June's agleam. 

It was a time for such a merry play 
The wind is north by south and Westward, Ho! 
My thanks although with thanks one cannot pay 
For day-dreams lovely that have pleasured so. 
But thanks ! And may again my fortune be 
To know shipwreck on coast of fantasy. 

ANNE PEACOCK. 



appetite, a thirst in which blood takes the place of alcohol, has 
been portrayed with more power. In the trial scene, on the 
other hand, a still stronger point is made by an equally positive 

insistence on a directly opposite trait 
that of inflexible and resolute self- 
command. Here, again, one faces the 
problem of consistency. Even in 
Shakespeare the beginnings, at least, of 
discrepancy are perceived between the 
passionate self-abandonment of Act III, 
and the iron rampart which turns its 
immovable face upon the duke, Bassa- 
nio, Gratiano, and Portia in the fourth 
act. If the actor wishes to exaggerate 
one of these opposites, consistency re- 
quires him to temper the other: to 
magnify both, as Mr. Sothern has 
done, is to unseam the character from 
the nave to the chaps in the lusty 
phrase of Mr. Swinburne's reckless 
Bothwell. A partial defense may be 
found in the signs of strain which 
checker sparingly the indomitableness 
of the Shylock of Act IV, reducing the 
voice for a second or two to a sharp- 
ened thread, and in the complete over- 
turn under the final blow beneath 
which he cowers and cringes like a 
whipped dog. Apart from these 
things, there is one exquisite detail 
which I cannot persuade myself to leave unspecified. A long 
scene in Act II closes with the return of Shylock to his deserted 
house (an addition to Shakespeare) and his momentary hushed 
listening to the sounds of revel in the great city before he thrusts 
the key into the lock. To me, personally, the physical nearness 
in that moment of the solitary Jewish outcast to the splendor 
and festalry from which his moral alienation was so wide and so 
irremediable made clear the embitterment of Shylock as nothing 
else even in Shakespeare ever did. If this be not great acting, 
it is surely its equivalent. 

Passing over the clangorous and unsympathetic Macbeth (too 
remote in my memory at this date for a detailed estimate), we 
find ourselves on the eminence of Hamlet. Mr. Sothern con- 
ceives the Prince as at least intermittently insane : the insanity 

theory, though not strong in logic, 
affords this accommodation to artists 
and readers who idealize Hamlet, 
that they are enabled to separate the 
two strains in the Prince, the Plato 
and the Diogenes, so to speak, and 
virtually to declare the second non- 
existent. The Hamlet that Mr. 
Sothern thinks real and plays finely 
is the noble, urbane, melancholy, 
contemplative Prince ; the second 
e 1 e m e n t cynicism sharpened by 
hysteria is treated as an after- 
growth and increment and is con- 
ceived with less sympathy and less 
power. The impersonation de- 
scribes a circle, first grave and 
gentle quiescence, then troubled and 
melancholy thought, then a feverish- 
ness and vehemence which are partly 

the outbreak of his distemper, partly flagellations of his own 
lethargy, then the thoughtful perturbed melancholy once more, 
and, lastly, the return to amity and silence. 

The two first and the two last of these stages are exalted and 
satisfying: one hesitates about the middle stage. Mr. Sothern 
spares neither his own voice nor the nerves of his hearers in his 



THE THEATRE MAGAZINE 



121 




White 



Mr. Sothern as Shylock 



efforts to achieve the maximum of painful and distempered 
vehemence. For part of this work the Shakespearean indica- 
tions are unequivocal ; but where Shakespeare demands one mile, 
Mr. Sothern goes with him twain. The 
bullying of Ophelia is pushed to lengths 
which arouse compunction even in the 
prince himself; and in the play-scene 
Hamlet really nullifies his own experi- 
ment by acting in a fashion which 
would justify an innocent man at an 
unambiguous play in safeguarding his 
wife and his throat by an abrupt and 
agitated departure. One could wish 
for less paroxysm even with insanity 
to hold one in countenance; but the 
noble conclusion, in which defeat puts 
on the majesty of triumph, makes 
liberal amends, proving that if Mr. 
Sothern, in the practice of his art, 
absents him from felicity a while, the 
path of return is left always unob- 
structed. 

Miss Julia Marlowe is an exquisite 
comedienne, with the added capacities 
of love and pathos. Keeping at a dis- 
creet though not an ignominious dis- 
tance from the absolute profundities 
and intensities of life, she relies 
securely on her winning personality, 
her infinite readiness, her copious in- 
vention, her art subtly mimetic of spontaneity, and her practically 
unerring taste. In her impersonations of Shakespeare, she 
never deepens or enriches the part; her tendency is to lighten, 
to checker, to animate, to subtilize, and I would add, to spiritual- 
ize, if I had fallen heir to the Elizabethan privilege of using 
spirit as a synonym with sprite. To take three typical parts, her 
Rosalind, her Portia, and her Beatrice, are all lighter, more 
variegated, and more elf-like than their namesakes in the comedy 
of Shakespeare. Except, possibly, in certain set declamations, 
she is never strictly theatrical, but it is noteworthy that her best 
roles are those of which the counterparts in actuality are some- 
what histrionic; in other words, her Beatrice, Rosalind, and 
Portia could all, at a pinch, have 
acted Julia Marlowe. 

The technical range of her 
voice is apparently not great, 
but its variety of effects and 
swiftness of transition are 

extraordinary. The fineness of 

subdivision even within the 

scant bounds of a single sent- 
ence gives an effect of rich in- 
laying or delicate tesselation to 

her work, not always free in the 

declamatory passages from a 

suspicion of refined artifice. 

Her vehemence is ineffectual 

shrill, blurred, and inclined to 

speedy collapse. She has a tense 

and chafing whisper, used spar- 
ingly but with intention, and 

satisfying to my ear only in 

"As You Like It." She has 

tones of rich satin-like texture 

on which the ear rests as on a 

cushion; hard, impervious tones, 

excellent for comedy, where 

they shut the lid on sentiment 

with a click, and giving to a 

Lady Macbeth not otherwise 

Photo Underwood & Underwood 

Mr. Sothern and Miss Marlowe at 
Long 



remarkable, certain moments of sheer pitilessness, as distinct 
from fierceness or hate, such as scarcely come from any other 
actress. This tone insures her attractiveness in comic disenchant- 

ments and burlesque despairs. She has 
the fine art of bringing herself up short 
in the full career of romantic or ideal- 
istic make-believe by a sudden arrest 
and relapse into practicality which is 
itself only make-believe in a plainer 
frock. She has acute and slender 
tones, suited equally to light, fleering 
scorn, to innocence, and still more 
pungently, to the mimicry of innocence. 
Her plaintiveness, like most plaintive- 
ness, leans a little to the infantile, and 
she likes it well enough to employ it 
sometimes indiscreetly. There are 
times, when, with richly comic effect, 
she attenuates her voice to a film in a 
virtual abnegation of personality. 
Amid all this glancing opalescence, the 
quietly normal note, the note of limpid 
sincerity, is rare, discoverable mainly 
in strong crises where earnestness is 
unmixed with agitation; one has a 
feeling sometimes, though it is not a 
displeased or peevish feeling, that with 
Miss Marlowe the dress itself is made 
of embroidery. She has crests and 
dips, but no level ; she is rarely quite 
or rarely just a woman. 

I find Miss Marlowe's Ophelia rather less drooping and 
spiritless than the majority of the lacklustre sisterhood. She 
submits rather than succumbs ; she obeys with decision ; she keeps 
her heart, if not her will, in her own custody. The mad scenes 
sharpened of late not to their profit were at their best of an 
impeccable artistic beauty. An aspen-like mobility and variabil- 
ity, both moral and vocal, is almost Miss Marlowe's specific 
trait; nothing could be more in keeping than her success in 
portraying that exaggerated mobility and variability which de- 
scribes, almost defines, insanity. Nowhere has the drifting, the 
helmlessness, of the uncontrolled mind been more feelingly or 

discerningly portrayed. This 
Ophelia, again, is not so much 
heartbreakingly sad as heart- 
breakingly indifferent or cheer- 
ful. She nestles into her grief, 
she makes bereavement a play- 
fellow, she comforts herself 
with laments ; we are touched 
with the immeasurable sadness 
of her not being immeasurably 
sad. 

The combination of exuber- 
ance and artlessness which 
make the Shakespearean Juliet 
unapproached is, perhaps, no 
more transferable to the stage 
than it is imitable by lesser 
dramatists. Miss Marlowe's 
hold on the artlessness is firm ; 
and if she misses exuberance 
she attains fervor. Her Juliet 
flourishes in immortal youth : 
the childlikeness with which the 
young girl greets womanhood is 
ineffable; and her passion sim- 
plifies rather than complicates 
her life by vacating her mind of 
every other feeling, even of the 

their home at West Hampton Beach, 
Iiland 




122 



THE THEATRE MAGAZINE 



natural surprise and alarm at the swiftness of its own victory. In 
the perennially appealing balcony scene, a visionary quality, in 
which the orchard and the moonlight are naturally confederates, 
is exquisitely utilized by Miss Marlowe as a means of qualifying 
and justifying the precipitation of surrender. Juliet dreams 
upon the balcony : the real Romeo displaces his own image ; and 
in the stillness and unearthliness of the moon-blanched orchard 
the border between dream and reality is crossed without a sound. 
"Into her dream he melted, as the rose 
Blendeth its odour with the violet." 

This unreality has its risks; and a perfect corrective was 
found in the lovely touches of quaint, troubled, self-amused 
childlikeness which assure the spectator at least of a foothold 
in the world of human actuality. 

Both Shakespeare's Juliet and Miss Marlowe's seem to lose 
part of their individuality in the closing acts. The potion scene 
lacks real interest and distinctiveness : a frightened girl is a 
frightened girl the world over. 

Miss Marlowe's unconquered Katharina is tame; her subdued 
Katharina is infinitely spirited. Her violence fritters itself away 
rapidly and fruitlessly, and between the meagreness of the 



boisterous part (for which the text, not the actress, is responsi- 
ble), and her own vocal shortcomings, she resorts either to 
block-like daze or stupefaction, or to missile-throwing, a resource 
cheapened by its universal accessibility. Nothing, however, can 
be more happy, either in motive or execution, than her presenta- 
tion of the reformed Katharina as a sharer and sympathizer in 
the comedy. She recovers ascendency in the very act of resign- 
ing it, she turns her submission into mockery, she teases 
Petruchio with her compliance, and the hearer's prevision of her 
ultimate mastery is the aptest and most piquant revenge for the 
brutalities she has suffered in her marriage to an earthquake. 

In Portia, Miss Marlowe is on her own ground, and her mastery 
is nearly unqualified. Her view of the character is less dignified 
than Shakespeare's, though Shakespeare's Portia is not en- 
cumbered by her dignity. The actress gives us the school-girl 
or unschooled girl (the two phrases are synonymous) which the 
poet's Portia, in all probability insincerely and in all certainty 
inaccurately, declares herself to be. But in the act of calling 
her school-girl one half repents. Miss Marlowe's playful young 
girls are so full of spontaneities that mimic affectations and af- 
fectations that one cannot tell (Continued on page rii'i) 



NO sooner is a 
Belasco produc- 
tion announced 

than persons begin to say things, and this, despite the quite 
recent vindication which the Great Producer obtained for "The 
Woman," has been the fate of "The Temperamental Journey." 
Only a little more so, for the envious horticulturists who make 
bouquets of the similarities they think they find in plays (true 
flairs du mal) have reaped a rich harvest in this latest produc- 
tion. They picked red blossoms out of the novel "Buried Alive" 
and the play "The Great Adventure," both by Arnold Bennett; 
they've added a handful of dried grasses from a forgotten story, 
"Tatterly," and a bunch of weeds from Tolstoi's gruesome 
drama, "The Living Corpse." In the nodding nosegay they see 
the germ of "Pour vivre Heureux," the Renaissance Theatre 
play, which Leo Ditrichstein has made over and David Belasco 
has produced. 

The onus of the charge of plagiarism, if there be any, falls 
this time on Andre Rivoire and Ives Mirande, authors of the 
French play, and by announcing their play as from this source 
the American adapter and producer do not share it. Tolstoi's 
horror in seventeen tableaux was played in Paris long before 
"Pour vivre Heureux," and it may very well be that the French 
authors borrowed its germinal idea, but Mr. Belasco is not con- 
cerned with where Messieurs Rivoire and Mirande got their 
piece. His rivalry is with "The Great Adventure," a London 
success which Mr. Ames is to bring over. Mr. Belasco claims 
that his piece, through a trial performance given in San Fran- 
cisco, antidated the production of Mr. Arnold Bennett's play. 
Of course, Mr. Bennett can fall back on the date of the publica- 
tion of his book from which his play is made. 

The imbroglio with so many ramifications is academically in- 
teresting, but as there is no scapegoat in sight, one is forced to 
suspect that it was concocted for the "silly season" and for 
purposes of advertisement. The Belasco-Ditrichstein combina- 
tion is admittedly a strong one when ideas are to be manipulated. 
This producer holds a position where he could afford, if he were 
not so sensitive to declare boldly like Dumas, je prends mon bien 
oil jc le troure (I take my own wherever I find it), and the 
Hungarian-American actor has long deserved a local fame 
as a clever constructor of American things out of foreign ma- 
terial. Without originality, indeed, singularly devoid of this 
quality, this author-actor yet possesses the tact, the grace, the 
savoir faire of the true adapter, and often his plays are better 
stage things than they were in their mother tongue. Both 
Belasco and Ditrichstein can afford to stand where they are 



intellectually without 
claiming higher honors, 
their product is good. 

Comes up again the question of ownership in ideas and it is 
the only vital point in all the newspaper discussion of "Pour 
Vivre Heureux," and "The Living Corpse." Is a new idea pos- 
sible? Can even a great genius imagine one any more than he 
can imagine a new animal ? The creative imagination that god- 
like quality which even Ruskin who wrote reams about it did 
not understand can anybody explain it? It is well-nigh impos- 
sible to trace back an idea, a very simple idea, to its extreme 
beginning. There are six plots for plays, it is said, and Shake- 
speare used all of therti in his time. In "Much Ado" and "The 
Winter's Tale," the Bard adopts the fiction of a supposed death 
in order that a woman's character may be vindicated by time, 
and her virtues shine out resplendent in the last act. The living 
corpse, therefore, figured in the drama centuries before Tolstoi. 

The current criticism of Arnold Bennett's amusing skit 
"Buried Alive," said that it lacked originality. This was not 
to say that Bennett's story was not his own and treated in the 
Bennett manner, but that the man in it, living while his works 
make a posthumous reputation for him, had appeared before in 
fiction. Bennett's idea was traced back to Nathaniel Hawthorne, 
who had printed one of his peculiar moral sketches on this very 
subject. In 1890 a short story appeared in the American maga- 
zine (not the present magazine so called), about an artist return- 
ing from Newport after failing to please a patron there with 
a portrait, who in his discouragement made a pretense of leav- 
ing the world. He did leave part of his clothes and valuables 
in the cabin of the steamboat and hid himself in a strange 
quarter of New York. The story told how the painter was 
compelled to go on with his art and to sell canvases in order 
to live and how by means of one of these the fact that he was 
still "quick" was discovered. A reader of this forgotten tale 
and Bennett's "Better Dead" would acknowledge the priority of 
the American fiction without accusing the latter of plagiarism. 

The present discussion would be vastly more amusing if it 
led up to a climax, if anybody in the end was to be taken in 
flagrante dclicto. Arnold Bennett is noticeably silent, as he can 
well afford to be, for all the charges of borrowing that can be 
brought against his "Great Adventure" were aired when his 
"Buried Alive" appeared. It is an improbable surmise that he 
knew about Tolstoi's drama when he wrote his book. So much 
for the living. Shakespeare, Tolstoi, Hawthorne are dead so is 
the old Greek or the older Chaldean story-teller who, perhaps, 
first used the living corpse idea. Whose is it? J. SHERRICK. 



Iceraes m "Tin Temperamental Journey " ssi Ae Belase Tflneaftire 

U <f 





Photos White Leo Ditrichstein 

ACT I. THE ARTIST CONTEMPLATES SUICIDE 



Frank Connor Isabel Irving Leo Ditrichstein 

ACT II. THE ARTIST'S WIDO^ LOSES NO TIME 




Richie Ling 



Edouard Durand Isabel Irving Henry Bergman Frank Connor 

ACT II. THE WIDOW OF THE GREAT ARTIST ABOUT TO START FOR HIS FUNERAL 




White 



Dick Giffon Betty Lindsay Gertrude Robinson Harry Lindsay 

(John Westley) (Jane Grey) (Ruth Shepley) (Bruce McRae) 

SCENE IN ACT III OF EDGAR SELWYN'S AMUSING FARCE, "NEARLY MARRIED," NOW AT THE GAIETY THEATRE 



BROADWAY is ripe for 
problem plays," the 
shrewd managers de- 
clared after the favorable acceptance last Spring of "Damaged 
Goods," the now famous play on sex-hygiene, and off they 
went on a search for the most daring ones available. 

"Very well," said George Scarborough to himself, "this is my 
chance to bring before the public some problems that need a good 
airing." 

Problems a-plenty he had come across on his wanderings 
through life. His earlier experience in newspaper offices had 
taught him how to wield a pen, and he was the fortunate possessor 
of an intuitive sense for the dramatic. The right man in the 
right place, and success cannot fail. That is why, out of the blue 
sky. George Scarborough has tumbled upon the unsuspecting play- 
wrights of America and taken the front 
row instantaneously as the author of 
"The Lure," the most talked of pro- 
duction of the young season. 

Tall and lean, with a long, gaunt face 
full of sympathetic manliness and kind- 
ly understanding, Mr. Scarborough 
impresses those who meet him as a man 
worth knowing. There is a clear, 
straight look in his eyes and a firmness 
in the grip of his hand that leave no 
doubt about his earnestness and sin- 
cerity. He seems far removed from 
any suggestion of complexity or mor- 
bidness, which are generally supposed 
to be the dominant attributes of those 
who write theme-plays or theme-novels. 
He is simply a man who has looked at 
the world with wide-open eyes, who has 
"shaken hands with Life," to quote his 
own expression, who has had his share 
of ups and downs, and whose mind is 



;c Tr l TL IT 

he Lwe 



JJ philosophical enough to ponder 
over the laws of cause and ef- 
fect and to draw vital lessons 
from the . every- day events that happen all around him. 

Pure speculation is not the forte of the American. Mr. Scar- 
borough is an American, and, therefore, instinctively a man of 
action. To see and to know did not content him. He wanted to 
impart his knowledge to his fellow-beings. He knew the stage 
to be one of the most effective factors of society and that is 
why George Scarborough became a playwright. 

When scarcely out of his 'teens, he conceived the ambitious 
project of revealing himself to the public, and within the shortest 
possible time, as an author of talent and distinction. Blessed age, 
when doubt is an unknown torture ! But things happened to turn 
out differently, as we know they most always do. The study of 

law occupied some of the young man's 
years and then came newspaper work. 
Nothing glorious or astonishing, just 
plain, every-day work. By that time 
young Scarborough had found that 
there was much for him to "take in" 
before he could "give out" anything of 
value to the world, and that the studv 
of life in all its forms and phases is the 
most fascinating and the most complex. 
A New York journalist sees a good 
deal of life and rubs elbows with many 
people of all sorts and conditions. But 
it wasn't enough to suit Mr. Scarbor- 
ough, so he enlisted in the Federal Se- 
cret Service, and as a Special Agent he 
found what he was after: subject for 
thought, and opportunity for action, 
more of it and of a more appalling kind 
than he suspected. 

The white slave traffic and Wall 
Street were the two fields more particu- 



Prnlotrut 

Hail, mighty Master Player! 

The stage is set at last, 
And through the playhouse echo 

The footsteps, thronging fast. 

Clear ! Ready for the curtain ! 

The orchestra now plays 
The signal for its rising. 

Be ready. No delays! 

Thy master puppets ready 

To play their little parts 
Why one would think to see them 

That theirs were human hearts ! 

First act! Up with the curtain! 

Now, gentle public, pray 
Be just to Play and Players 

And the Author of the Play! 

PARMLEE BRACKETT, 



THE THEATRE MAGAZINE 



125 



larly assigned to his attention ; and what he saw and lived through 
during the years he spent in the service is probably responsible 
for the thoughtful expression on George Scarborough's face 
almost sorrowful at times when he is silent and remembers. 
How he came to write "The Lure" is a simple tale. 

He and another agent had just finished "a case" of white 
slavery in a town of the Middle West. It had been a particularly 
tragic one, and both men were pondering over it in silence. At 
last the other man suggested : 

"The public should know. . . . Why don't you write a play 
about it?" 

And Scarborough decided that he would. He went to work, 
and exactly eight days later "The Lure" was completed and pre- 
sented to the manager. 

Mr. Shubert wanted a problem play all right, but he was afraid 
of the "exaggerations" he saw in this one. The author insisted 
that he had exaggerated nothing, on the contrary. A high official 
in the service verified the author's statement, and, scruples ap- 
peased, Lee Shubert called immediate re- 
hearsals of the piece. 

Mr. Scarborough's original title was 
"Other Men's Daughters," as the story 
of the girl in the play was intended above 
all to serve as a lesson and a warning for 
other men's daughters. Various other 
titles had come to his mind : "What 
Every Woman Should Know." or "What 
Every Man Knows." None of these 
found favor with the producer. "The 
Victim" was agreed upon, but this had 
been used before. Finally "The Lure" 
was chosen. 

A number of people were busy helping 
Mr. Scarborough polish his work during 
rehearsals, and two tryout performances 
were given at Saratoga. The most prom- 
inent assistant was Augustus Thomas, 
who is responsible for a "psychological 
amendment" in the first act. The most 
efficient, undoubtedly, was J. C. Hoff- 
mann, the stage director, whose clear- 
sighted, experienced help Mr. Scarbor- 
ough gratefully acknowledges. He ad- 
mits that he has learned more about 
playwriting from his association with 
Mr. Hoffmann back of the footlights 
than he had been able to gather from any 
books on the art of the drama. 

With sympathetic modesty, Mr. Scar- 
borough calls himself a mere student on 
his way to authorship. He knows that 
there are many technicalities, many tricks 
of the trade that he has not yet mastered, 
and with which he feels he will have to 
acquaint himself before turning out "s. 
really good play." The big second act of 
"The Lure" is from a technical point of 
view practically faultless. It would have 
appeared even more so if some of the 
acting, as seen at the first New York 
performance, had been in a little closer 
harmony with Mr. Scarborough's text. 
The actor who that night showed himself 
most conscientiously preoccupied with 
the ensemble effect of the drama and its 
logical, psychological working out was 
George Probert. During the past year 
Mr. Scarborough has written seven 
plays. His work is of extremely varied 
character. One of his earlier plays will 



soon be seen on Broadway, with Chrystal Herne and Guy 
Standing in the leading roles. He calls it a romantic melo- 
drama, and the title of it is "At Bay." The next one will be a 
satirical farce. It is scheduled to claim the public attention 
some time during mid-season. After that he will permit another 
so-called "morbid" play to go on the boards. This author's method 
of working is curious. Most writers have had little ways of 
their own, and some of them were decidedly strange. Schiller, 
for instance, could not find one of his inspired lines if there was 
not the odor of ?. rotten apple coming from the left-hand drawer 
of his writing-table. Emile Zola would never let a day pass by, 
well or ill, without writing exactly ten pages to the novel 
"En Chantier," and never would he write one page more than 
ten, however wildly his imagination was running. Gustave 
Flaubert would stop over a difficult sentence sometimes for days, 
weeks and months, polishing his thought until he had clad it 
in the one definite form he wanted, and would not think of 
attacking anything else in the (Continued on page vii) 




White 



Jane Grey and B"-uce McRae in "Nearly Married" at the Gaiety Theatre 



STAWnFT?*; nW;p he Finn S\ 1 TO) Tl A painfully that fame is not 

iSSiidKta* The Cabaret Booking Agency to be ^1, ^ th ey can 

standing artistes. By YETTA DOROTHEA GEFFEN never rlse above a certain 

Will the fellow in the door- leve1 ' but must be content 

way with the prominent nose and the cigarette sticking out of the with their humble lot ! Occasionally one of their number chances 
corner of his mouth please sit down ? This ain't a theatre lobby, to make a hit in a small part, is forthwith promoted to the centre 
This is a booking agency !" 

The shrill, strident voice of the Agent, sarcastic, aggressive, 
rang out through the dreary, dingy loft dignified by the name 
of office, and the "artistes" assembled there, patiently awaiting 
the pleasure of the important personage, quaked and trembled. 

The Cosmopolitan Cabaret Agency, which makes a specialty 
of supplying dramatic and musical talent for cabarets, public and 
private entertainments, etc., occupies the entire top floor of a 
building near Forty-second Street and Eighth Avenue. It is not 
an attractive place or one in which one might expect to discover 
a budding Bernhardt or Sembrich. Situated in a cheap and noisy 
neighborhood, the casual visitor stares about him in amazement, 
finding it difficult to believe that talent worthy of the name could 
expect to find recognition in such repellant, ugly surroundings. 
The only outward indication of the agency is a small square sign 
bearing the inscription : "Artistes use stairway," the creaky ele- 
vator being deemed too good for them, and the stairway, narrow 
and twisting, bears unmistakable evidence of use. From the 
ill-paved, refuse-littered street, with its unspeakable smells and 
roar of city traffic elevated trains crashing overhead, steam 
whistles blowing, dynamite blasting, steel workers rivetting, ven- 
dors hoarsely crying their wares one enters a narrow, dark hall- 
way and begins the long climb up a winding, ricketty, wooden 
staircase, so rotten in places that one almost stumbles into gaping 
holes. The walls and ceilings are grimy and water-stained, and 
here and there the plaster has fallen off in great patches, exposing 
the wooden lathing. The windows on each landing are so cov- 
ered with the accumulated filth and dust of years that to see 
through them is a physical impossibility. Many of the panes are 
broken, the holes being stopped up by paper. Over all is an 
abominable stench of bad plumbing, damp and mould. A curious 
place, forsooth, for Art to select in which to hide itself. 

But those who each day make the weary pilgrimage to the agency 
in search of engagements have few illusions left concerning their 
art. From bitter experience they know that it is a business at 
best, and often a degrading, humiliating one at that, with little 
beyond a bare, meagre living to compensate for the physical and 
mental toil their "profession" has cost to acquire. 

Day after day the unemployed trudge up those stairs, eager, 
expectant, hoping that the day will bring something; night after 
night they wend their way slowly down again, some with assumed 
gaiety, others making no effort to hide in their faces the dull 
misery and hopelessness that gnaws at their hearts. 

The top floor finally reached, one finds it divided into two 
sections. The larger and lighter part, where accounts are kept, 
contracts issued, and managers received, is known as the front 
office. The smaller part, at the rear and connected with the front 
office by a narrow passageway, is facetiously called the "theatre" 
not because it in any way suggests an auditorium, but because 
in this square, bare room, ill-ventilated, ill-lighted, dingy beyond 
belief, the artists are "tried out" before the Agent, and sometimes 
even before the managers themselves. 

Here, in these dismal surroundings, amid an atmosphere of 
depressing, intolerable gloom, assemble each day a score or more 
of would-be recruits for musical engagements cabaret enter- 
tainers and dancers, orchestra musicians, singers of both sexes, 
moving picture and vaudeville "artists" a motley crowd, all mem- 
bers of that army of hopeless incompetents who are lured to 
Broadway from every part of the country, leaving wholesome 
pursuits for the artificial glitter of the stage, only to drift help- 
lessly and miserably in the fierce maelstrom of metropolitan com- 
petition. They are the rank and file of the theatrical and musical 
professions, the "little people of mediocre talent, those who at 
one time dreamed of fame, of seeing their names spelled out in 
big letters of electric light, but who, 3S the years roll by, realize 



of the stage, and the Agency knows him or her no more. But 
these are the exceptions, the big prizes in the lottery. Such suc- 
cesses are not of every month or of every year. Those rare in- 
stances are traditions of the grimy office and ar.e talked of rever- 
ently and wistfully as the applicants wait for employment. 

Seated on long wooden benches, row after row, they wait for 
telephone "calls" (requests by managers for talent), which are 
read out by the Agent as, every now and then, they come in over 
the wire. Between the intervals of keen suspense, when each is 
alternately buoyed up by hope or plunged into gloom by disap- 
pointment, the applicants discuss their various engagements or 
swap more or less veracious anecdotes of one-time glory. 

What a crew they are, these "artists" ! What a collection of 
down-and-outs! What an assortment of has-beens and would- 
bes ! Actresses who can find no place on the stage ; music stu- 
dents trying to earn money for tuition ; girls, pitifully young, with 
hard, painted little faces, tawdry clothes, and awful sophistication, 
deserted by worthless, good-for-nothing husbands ; European 
musicians of fine ability, who, after drifting to New York, are 
forced to resort to ragtime playing in cheap cafes in order to 
earn a livelihood for their families ; men with no musical training 
whatever, but able to shout out a rotten, suggestive little song or 
two, and craving the glittering life of the restaurants, with its 
license and its opportunity to drink; women who, after shatter- 
ing crises in their lives, have strayed from the narrow path, and, 
their finer sensibilities dulled by drugs, drink and smoke, have 
no apparent desire to abandon the broader highway of least re- 
sistance ; boys and girls from the South and from the West, with 
little talent and mountains of ambition, who, urged on by flatter- 
ing friends, have come to the City of Golden Opportunity in 
search of fame and recognition ; a Baroness, grande dame of the 
Austrian aristocracy, with stately bearing, fine, sensitive face and 
shabby clothes, a pitiful mockery of one-time grandeur; a man 
who is totally blind, yet can play the piano and sing, and is con- 
sidered a clever entertainer ; a girl whose right side is entirely 
paralyzed and who plays the piano with one hand all these are 
to be found in the agency every day, looking for employment. 

The room in which they sit is as unattractive and depressing- 
looking as the street outside. The walls are ugly and bare, save 
for a few unheeded legends, such as: "No smoking!" "No loud 
talking or zvhistling!" "Silence during try-outs!" In the centre 
of the room stands a battered piano, dilapidated, meek-looking, 
abused, its vitality long since departed under the merciless blows 
of ragtime "piano-punchers," while at his desk at one side, under 
a strong droplight, sits the Agent himself. 

Quite a character, this agent. Of diminutive proportions, with 
a small bald head, usually topped by a straw hat, he sits like 
a hawk watching his "artists," each one of whom represents a 
potential commission, inspiring in all present fear and awe. 
His voice is shrill, his manner aggressive, often brutal. He is, 
indeed, an undisputed power in his little world his agency 
He is more feared than loved, yet not a few look upon him as 
a god, a deliverer. More than once during a particularly dull 
season, after tramping from one manager's office to another, onlv 
to be dismissed by all with a curt "nothing to-day," have they 
trudged down to the agency as a last resort, and after waiting 
sometimes a day and sometimes a week been saved from utter 
despair sometimes from actual starvation. 

The Agent knows his power and lords it over his "artists" as 
a king over his people. All are subject to his partialitv, his 
frequent bursts of temper, his often brutal language, his bellowed 
"Keep quiet, please ! I'm runnin' this agency, not you !" There 
is no use rebelling or getting impatient. No good is accomplished. 
The applicant badly in need of a job to satisfy a clamoring land- 
lady, is content to await the pleasure of manager and Agent. 





Photos White N ata li e Alt Craufurd Kent Hal Forde Georgia Caine 

ACT I. QUARTET IN THE BARON'S APARTMENT 



Hal Forde 
ACT II. 



Natalie Alt 
THE ADELE SONG 





Georgia Caine 

ACT III. 



Hal Forde 
"YOU DON'T LOVE ME?" 



Will Danforth Dallas Welford 

ACT III. "WE WILL HAVE OUR INITIALS INTERTWINED" 



128 



THE THEATRE MAGAZINE 



Ah! that is where the rebellion conies in! The utter misery 
of it all, this waiting! From morning until evening, long after 
the factories, the department stores and the shops have sent 
scurrying homeward their hordes of wage-earners, these unfor- 
tunate "artistes" await the convenience of manager and agent, 
herded together like cattle in that enclosure of depressing gloom. 

To-day the demands for talent have been frequent. Every 
now and then, above the buzz of conversation, is heard the 
Agent's shrill voice as he reads out a 
"call." At least half a dozen appli- 
cants jump nervously from their seats in 
answer to each summons and make their 
way eagerly to the desk. There the 
Agent tells them the particulars of the 
engagement offered, and after careful 
deliberation selects the person he thinks 
capable of meeting the requirements. 
The one thus favored is then sent to 
the front office for his or her contract, 
while the unlucky ones, with disap- 
pointment and bitterness plainly show- 
ing on their faces, go back to their 
seats to wait. Always to wait ! 

Again the voice of the Agent cries 
out: 

"Call No. 3602, for a female cabaret 
singer of good appearance. Nice en- 
gagement. Hours, 8 to i. Uptown 
cafe." As no one responds to the call, 
he stops and looks around him with 
amazement. "What!" he exclaims 
sarcastically, "no cabaret singers in this 
agency to-day? What's going to hap- 
pen? Who's that sitting on the end of 
the second row? Ain't you a singer?" 

The girl thus addressed gathers up 
her music-roll and umbrella and makes 
her way to the desk, where she stands 
in timid silence. 

The Agent glowers at her. 

"Have you worked on my contract 
before?" he demands. 

"No, sir." 

"Where have you sung?" 

"I held a church position in Fall 
River, Mass. I came here a month 
ago," she stammers. 

"Church singer, eh?" he sneers. 
Church singin' don't go in this place. 
Do you know any ragtime ?" 

"No, sir." 

"Then learn some, quick! Can't use 
you until you do. You're wastin' your time stayin' round here." 

Embarrassed at being spoken to in this way before the others, 
she returns to her seat with flushed face and downcast eyes. 

A fellow artist, who himself had struggled long and hard when 
he first came to New York, volunteers a bit of advice : 

"The cabaret is the big game now, girlie. Doll up, throw a 
grin, snap your fingers and jig through a song makes no dif- 
ference if you've got a voice or not you'll make a hit anywhere. 
Voice and ability don't count no more, no siree !" 

All of which is somewhat disconcerting to the" unsophisticated 
young church singer from Fall River, Mass. 

Once more the Agent rises and looks around : 

"Here's a call for a male piano-player. Out-of-town resort. 
Swell joint. Want a real Ai player. Must accompany singers 
and transpose. Some piano-puncher he'll have to be to get 
away with this job ! Who've we got here ?" 

Several men from different parts of the room rise simultane- 
ously and hasten over to the desk. In the noise and confusion no 







White 



IRENE 
Now appearing in 



one heeds the appearance of a young girl who has just emerged 
from the passageway. In one hand she carries a violin case, in 
the other a music-bag. She looks around, bewildered, then 
timidly approaches a youth who is leaning against the doorframe, 
hands in pocket, cigarette in mouth and hat perched over one ear. 
"Pardon me," she murmurs, "is this the Cosmopolitan Agency?" 
"Sure thing. That's the Agent over there," he answers curtly, 
without taking the trouble to look at the questioner, and indicat- 
ing the direction of the desk with a for- 
ward jerk of his head that almost un- 
balances the cigarette. 

Hesitatingly, apprehensively, the 
newcomer walks over to the Agent, 
who looks up at her in amazement. 

"Are you a male piano-player?" he 
inquires sarcastically. 

"N-no," she stammers, while a snick- 
er goes around the room. 

The perpetual frown the Agent al- 
ways wears deepens as he glowers at 
her. 

"Then sit down," he snarls, "and 
don't come up here 'till I call you." 
She tries to explain : 
"I have never been here before, and 
I've just come to New York 
"Sit down !" he commands sharply. 
Shrinking instinctively as a delicate 
flower might before the rude blast, she 
gropes her way over to the other side 
of the room and stands there, trembling, 
everything a blur before her eyes. 

"Another rube!" she hears one man 
remark, with a cynical laugh. 

A sister artist glances at the new- 
comer pityingly, then moves up along 
the bench as if to make room for her. 
Kindly she says : 

"He sure is grouchy to-day. But you 
mustn't mind him, girlie. He's the kind 
o' dog that barks a lot. The only time 
he bites is when you dodge your com- 
missions ; then good-night." 

The young girl looks at the speaker 
blankly, not understanding. Instinc- 
tively, she shrinks away, as from some- 
thing unclean. Then, her curiosity 
aroused, she looks again. 

Under the enormous picture hat, with 
its weight of dirty white willow plumes, 
the face she sees is red and white, like 
peppermint candy, with a pair of bold, 
black eyes. The hair, originally dark, is bleached a muddy yellow 
and curled and frizzled about the face. Her costume would rival 
Joseph's coat of many colors, and as a finishing and characteristic 
touch to the ensemble she is chewing violently a great wad of 
gum. Staring at the young girl a look of pity mingled with 
contempt, the woman a sophisticated old-timer thinks to her- 
self: 

"Just come to New York huh ! Well, she sure looks it !" In 
a glance the Sophisticated One takes in the details of the new- 
comer's plain, dark costume. Not a single plume waves from the 
trim little hat, which matches the tailored dress in color, and 
there is a total absence of jewelry or adornment of any sort. 
Something about the girl something fresh and innocent makes 
her appear quite different from the usual run of girls who fre- 
quent the agency. She seems strangely out of place in these 
surroundings. The Old-timer's curiosity is aroused, and she is 
just about to question the young stranger further when her atten- 
tion is diverted by the appearance of another Gay One who at 



WARFIELD 

"Broadway Jones" 



The U. S. A. Limited at the Grand Central Railway Station 



Suffragette Parade A scene on the streets or New \ ork City 




Photos White "Fighting the Flames" A scene on the Bowery 



Yachting scene in the Carnival of Sports 



SCENES IN "AMERICA" THE SPLENDID SPECTACLE AT THE NEW YORK HIPPODROME 



130 



THE THEATRE MAGAZINE 




White Douglas J. Wood ami Alice Brady in "The 
Family Cupboard," at the Playhouse 



that moment enters 
the outer office. 

"Hello, Mabel!" 
she calls out in greet- 
ing. 

The newcomer, a 
brazen-looking, per- 
oxide blond, decked 
out with all the ex- 
travagance of colors 
and finery with which 
women of that class 
love to adorn them- 
selves, advances with 
a broad smile, reveal- 
ing a number of gold- 
capped teeth. 

"Hello, k i d d o ! 
How's yer heart? 
Say, that was some 
dump the agency sent 
me to last night ! The 
boss wanted me to put 
over a song every fif- 
teen minutes. 'Noth- 
in' doin',' says I, and 
out I goes. Jack Ken- 
nedy sang there last 
Sunday an' got 
canned after his third 
song. He says they 
let all their singers 
put over a couple of songs an' then can 'em. I ain't used to work 
in such places. I ain't no amateur !" 

The Sophisticated One chuckles as she answers : 

"I saw Jack Kennedy just now. "He's going to team up with 

that cute kid that works in S 's. He told me they went to 

Jack's last night with a crowd an' had a swell time. They all got 
soused to der gills. Say, what's up between you and him ! I 
ain't seen him with you fer a long time. He's kind o' stuck on 
that kid, I guess." 

"Huh, I should worry an' fall over a phonograph and break a 
record !" exclaims Mabel sourly, with a shrug of her shoulders, 
as she brushes an imaginary fleck of dust from her sleeve. 

The Agent, still busy at his desk, interrupts further conversa- 
tion : Jl 

"Call No. 3729 moving picture pianist. Male. Hours, 2 :3O 
to 6; 7 to ii. Salary, $15. A steady job for a steady fellow. 
Must play with singers. Different singer every night." 

A young man rises from his seat and approaches the desk. The 
Agent looks up at him and shakes his head. 

"What's the good of you coming up? You can't take care of 
this. You haven't played with a singer in your life." 

"Let me try, won't you, sir?" falters the young man. "I've 
been here every day for a week, looking for a job, and nothin's 
turned up yet." 

"Can't help it. Sit clown," exclaims the Agent angrily, incensed 
that anyone should imagine he had time to waste on an incom- 
petent, no matter how tragic his situation. 

Ignoring the applicant, who returns sorrowfully to his seat, the 
Agent cranes his neck right and left. 

"Who else is available for this job? Murray? All right, Fred, 
you'll do. Take this memorandum to the front office." 

"Gee !" grumbles Murray as he passes the youth standing in 
the doorway. "Fifteen measly dollars for seven and a half hours' 
work? This business ain't like it used to be. It's getting rotten, 
that's what ! Playin' at a beer garden down on Long Island was 
a cinch. An' tips ! why, they rolled it over to you. And now ! 
Gee ! a miserable fifteen plunks !" 

He disappears through the dark, narrow passageway, leav- 



ing the blase youth with the cigarette absolutely unmoved. 

Once more the Agent turns and addresses the waiting throng: 

"Manager, who is in the agency right now, wants a lady violin- 
ist for his cabaret in Brooklyn. Where's that new girl who spoke 
to me a short while ago?" 

The little stranger emerges from the darkness and approaches 
the desk. The Agent eyes her dubiously : 

"Have you 'tried out' for me?" he demands curtly. 

"No, sir. This is the first time I've come here." 

"Have you got your instrument with you?" The girl nods, and 
turning to his peroxided assistant, he says : "Will you play an 
accompaniment for this young lady ?" 

The overworked Miss Lee goes grumbling to the piano for the 
"tryout," while the young stranger, with trembling fingers, takes 
her violin from its case. 

The Agent puts down his call book and turns around in his 
chair to face the piano. A solemn and critical moment in the 
day's work has been reached. An artist is to be "tried out." If 
she's any good there will be another eligible on his list, with its 
promise of possible commissions. If she's "rotten" she'll have to 
get out quick. Standing up and imposing silence by a magnifi- 
cent gesture, he cries : 

"Artists, be seated ! Sit down, everybody ! No standing during 
tryouts. Come in out of the doorway, you animated chimney ! 
Don't you know enough to stay in your seat?" 

Gradually the buzz of conversation ceases, and the Agent gives 
the signal to begin. 

The piano emits a succession of dismal howls, and the girl, her 
black eyes flashing nervously from her pale face, raises the in- 
strument and begins to play. The sweet tones falter at first, and 
it looks as though she will break down at the very beginning of 
the selection. She can feel the hostility in the eyes bent upon her 
can see the sneering faces before her, and trembles for fear 
that they will begin an open demonstration of disapproval. 
She has heard that such things often happen at "tryouts." 

Suddenly something happens. She 
closes her eyes, shutting away the 
dinginess of the scene before her. 
Another scene rises in her mind's 
eye. She sees herself standing in 
the little church at home, playing the 
same selection. It was just before 
she went away, at the Sunday night 
service. All the dear friends she ha:; 
known for years have come to hear 
her, and she stands there in her soft 
white dress, playing as she has never 
played before, inspired by the love 
and kindliness in the faces around 
her. And now, instinctively, her 
violin becomes a thing alive, and 
soars and sings exultantly. The 
piece ends with a great burst of joy. 
and she opens her eyes, bewildered 
by the round of applause that greets 
her. 

"Gee ! that kid can play some !" 
exclaims some one in the crowd, an-1 
all nod their heads and smile encour- 
agingly. Even the Agent himself 
unbends enough to nod a gracious 
approval. He makes a lordly ges 
ture, dismissing the accompanist. He 
has heard enough. The kid will do. 
She is given the details of the en- 
gagement and sent to the front office 
for her contract. 

Reseating himself at his desk, the 
Agent resumes his calls : 

"Is Mabel Vincent in the agency 

(Continued on page viii) White 

William Morris as the father in 
"The Family Cupboard" 




la 



pesra ait the Ceotiuiir Theatre 




Photos Apeda 
LOIS 



EWELL 
(American soprano) 



FRANCESCO DADDI 
(Tenor buffo) 



THE season of the Century Opera Company 
opened at the renamed Century Opera House 
(formerly the New Theatre) on September 
1 5th with Verdi's popular "Aida." The opera, 
which was sung in English, wa? given with the 
following cast : 

King, George Shields; Amneris, Kathleen Howard; 
Rhadames, Morgan Kingston; Ramfis, Alfred Kaufman; 
Amonasro, Louis Kreidler; Messenger, Vernon Delhaut; 
Priestess, Florence Coughlan ; Aida, Elizabeth Amsden. 

It is an interesting experiment which is being 
tried in the splendid auditorium on Central Park- 
West. For some time past there has been a de- 
mand in certain quarters for performances of grand 
opera in the vernacular. Music lovers, it has been urged, are 
tired of listening to words sung in a foreign tongue. They 
insist that opera should be something more than a luxury for the 
ultra-rich. They want opera of the best type at prices they can 
afford and sung in a language they can understand in other 
words, popular opera comparable to the municipal operas of 
the German cities. Experiments already made in this direction 
have met with substantial success. Herjry W. Savage, for a 
number of seasons, has been sending out English singing grand 
opera companies of high artistic merit, and for years the Aborns, 
Milton and Sargent, have made a profit giving grand opera at 
prices from twenty-five cents to a dollar, with performances as 
good as the average in Europe. This year the experiment has 
been carried still further by the advent of the Century Opera 
Company promoted and fostered by the City Club, an organiza- 
tion concerned in civic betterment. This company, which has 
among its founders W. K. Vanderbilt, Sam A. Lewisohn. Isaac 
X. Seligman, and on its board of directors Otto H. Kahn, Henrv 
R. Winthrop, Harry Payne Whitney, Clarence H. Mackay, Ed- 
mund L. Baylies, all of the directorate of the Metropolitan Opera 
House, took over the lease of the Century Theatre, and renaming 
it the Century Opera House, prepared the way for the present 
season of popular opera in New York. The Aborns were secured 
as managers and a company organized. 

The first great difficulty seemed to be the securing of operatic 
artists. How could Mr. Aborn agree to pay huge salaries when 
orchestra seats were to sell for $2 instead of $6. and expect to 
pay a dividend to the stockholders? How could he hope to 
secure singers acceptable to opera-goers already accustomed to 
the extravagant pace set by the Metropolitan? He solved the 
problem by deciding not to have "stars" in the true sense of that 
much-abused term, but to recruit a company of good singers 
among the many Americans singing in Europe whom he prefer? 
to call "artists" rather than "stars." The salaries he could 
offer these were less than the large sums earned by a Caruso or 



MARY JORDAN 
(American Contralto) 



KATHLEEN HOWARD 
(American Contralto) 



MILTON ABORN, Manager 



a Farrar, but several times larger than the salaries 
they received on the other side. Moreover, an 
extra inducement was offered by opening a concert 
bureau in connection with the Century Opera Com- 
pany. Through this bureau, any town within 1,000 
miles of New York can engage the members of the 
company and the artists will be free to make such 
concert engagements. 

Four nations are represented in the Century com- 
pany's list of tenors : John Bardsley, an English 
robust tenor from Thomas Meecham's famous Lon- 
don company ; Gustav Bergman, a Swedish dramatic 
tenor who has been singing at the Royal Opera in 
Berlin; Walter Wheatley, an American dramatic 
tenor who has appeared only in light opera in this country, but 
who has won great favor as one of the leading singers at Covent 
Garden ; and Morgan Kingston, a powerfully built young Welsh- 
man, whose advent into grand opera makes an interesting story. 
Mr. Kingston was a coal miner in his native country a hard 
working fellow with a powerful voice whose one source of re- 
creation was singing in the village choir. Andreas Dippel 
chanced to hear of him and after listening to him sing made him 
an offer by which he (Dippel) was to pay for the miner's musical 
education and operatic training, the understanding being that, 
on completion of his studies, Kingston would sing in Chicago 
for five years. When Dippel severed his connection with the 
Chicago company, he brought Morgan Kingston with him to the 
Century. 

Among the sopranos are: Lois Ewell, Elizabeth Amsden, 
Florence Coughlan, Evelyn Scotney and Ivy Scott. The first 
four mentioned are Americans. Miss Scott, though an Austra- 
lian by birth, is an American by adoption, and made her grand 
opera debut in this country in the title part of Puccini's "The 
Girl of the Golden West," when it was produced in English two 
years ago by Henry W. Savage. After that engagement she 
entered the Aborn English Grand Opera Company, and her suc- 
cess with that organization led to her being engaged for the 
more important Century company. The Misses Amsden, Cough- 
lan and Scotney have been singing with success at the Boston 
Opera House and will appear there again for a number of per- 
formances this season. Miss Ewell, who has been heard abroad, 
is a native of Tennessee, but has spent most of her girlhood in 
Brooklyn. She was a favorite in light opera before she entered 
upon her grand opera career. 

Of the list of contraltos Jayne Herbert, Kathleen Howard 
and Mary Jordan are natives of this country. Miss Herbert is 
a Chicagoan and was formerly a popular concert singer in the 
West. She also graduated to the Century from the Aborn com- 
pany, "'ith which she has been a favorite for several seasons. 



THE THEATRE MAGAZINE 




Mishkin jyy SCOTT 

Australian soprano, Century Opera Co. 



Kathleen Howard has been 
appearing with success at 
several of the leading 
European opera houses dur- 
ing the last few years and 
was engaged for the Cent- 
ury while singing at Covent 
Garden this summer. Mary 
Jordan has been heard most- 
ly in concert and oratorio 
and has acquired a grand 
opera repertoire with sev- 
eral American companies. 

The conductors are Carlo 
Nicosia, who at one time 
held this position with Ham- 
merstein's companies at the 
Manhattan and Philadelphia 
opera houses ; and Alatar 
Szebdrei, a young Hun- 
garian who was with the 
Chicago-Philadelphia Com- 
pany for one season, and who has directed grand opera at the 
Royal Opera in Berlin and at other important European opera 
houses. 

The present season of grand opera at the Century Opera 
House will last thirty-five weeks. Operas of Verdi, Pon- 
chielli, Offenbach, Wagner, Wolf-Ferrari, Puccini, Saint- 
Sae'ns, Charpentier, Gounod, Massenet, Balfe, Donizetti, Hum- 
perdinck, Bizet, Thomas, Flotow, D'Albert, Mascagni, Leon- 
cavallo, Delibes, Strauss, and Meyerbeer will be sung. The 
initial offering, Verdi's "Aida," was given eight performances 
in English during the opening week, and repeated in Italian on 
Monday night of the second week. All other operas will have 
their first performance on Tuesday night, running in English up 
to Saturday night, and will have one performance in the orig- 
inal language of the opera French, German, or Italian on the 
following Monday night. By this system, "La Gioconda," the 
second offering, was given seven presentations in English be- 
ginning Tuesday night, September 23d, and ends its run in Italian 
Monday night, September 2gth. The same schedule applies to 
other selections announced. Here is the complete repertoire for 
the season. Each opera is to be given for eight successive per- 
formances, except Hnmperclinck's "Hansel and Gretel," which 
will be heard only at four separate matinees Thanksgiving 
Day, Christmas, New Year's, and Lincoln's Birthday : 

September 30. Offenbach's "The Tales of Hoffmann." October 7. 
Wagner's "Lohengrin." October 14. Wolf-Ferrari's "Jewels of the Ma- 
donna." October 21. Puccini's "Madame Butterfly." October 28. Saint- 

Saens' ''Samson and Delilah." 
November 4. Puccini's "La 
Tosca." November n. Char- 
pentier's "Louise." November 
18. V e r d i ' s "II Trovatore." 
November 25. Gounod's "Ro- 
meo and Juliet." December 2. 
Massenet's "Thais." December 
9. Massenet's "Manon." Decem- 
ber 16. Balfe's "The Bohemian 
Girl." December 23. Donizet- 
ti's "Lucia di Lammermoor." 
December 30. Bizet's "Carmen." 
January 6. Thomas's "Mignon." 
January 13. Puccini's ''La Bo- 
heme." January 20. Flotow's 
"Martha." January 27. Hum- 
perdinck's "Konigskinder." Feb- 
ruary 3. Gounod's "Faust." 
February 10. Wagner's "Tann- 
hauser." February 17. D'Al- 
bert's "Tiefland." February 
24. Mascagni's "C a v a 1 1 e r i a 
Rusticana," and Leoncavallo's 
"I Pagliacci" d o u b 1 e bill. 




March 3. Verdi's "La Tra- 
viata." March 10. Verdi's 
"Rigoletto." March 17. Wolf- 
Ferrari's "The Secret of Su- 
zanne," and Delibes's Ballet, 
" C o p p e 1 i a." March 24. 
Strauss's "Salome." March 24. 
Wagner's "Tristan and 
Isolde." April 7. W a g n e r ' s 
"Parsifal." April 14. Wagner's 
"Rheingold." April 21. Wag- 
ner's "Die Walkiire." April 28. 
Wagner's "Siegfried." May 5. 
Wagner's "Gotterdammerung." 
May 12. M eyerbeer's "The 
Huguenots." 

For the brief concluding 
season of opera comique the 
productions have not yet 
been announced. 

The price of the seats 
range from those in the or- 
chestra at $2 to those in the 
gallery at 25 cents. 




Stein 



JAYNE HERBERT 



American contralto, Century Opera Co. 



Apeda ALFRED KAUFMAN 

English basso, Century Opera Co. 



The response of the music-loving public to the company's 
prospectus was most encouraging to the management, and to 
the surprise of the directors, the majority of the subscribers ex- 
pressed a decided preference for the nights when the operas 
were to be sung in English. Although for this first season only 
one night has been set aside for singing an opera in the original 
language, that one night has been selected by fewer patrons than 
any other. Among the subscribers are : 

Teneau Alexandre, George W. Alger, Mrs. Elmer Black, Robert Pen- 
dleton Bowler. Charles C. Burlingham, W. T. Bush, Mrs. McCoskry Butt, 
Mrs. William A. Copp, Paul D. Cravath, the Rev. William T. Crocker. 
Francis Phelps Dodge, Frederick G. Dow, Joseph Dowd. Edward R. 
Finch, Mrs. M. K. Flagg, John W. Frothingham, John A. Carver, Miss 
Nora Godwin, Frederick Grosvenor Goodridge. Mrs. Charles Judson 
Gould, Miss Bella da Costa Greene, Charles Hathaway, Harrison Blake 
Hodges, Dr. Frank T. Hopkins, C. H. Ingersoll, Alvin W. Krech, Dr. 
Walter Eyre Lambert, Thomas W. Lamont, Mrs. Morris Loeb, Mrs. 
George -B. Loring, Albert Low, Mrs. Seth Low, Severe Mallet-Prevost, 
Miss Marie L. Mayo, Miss Annabel Mayo-Smith, Mrs. Gilbert W. Mead, 
Edward D. Page, Charles A. Platt, John Cheney Platt. William Ross 
Proctor, Henry A. Rusch, Paul J. Sachs, Miss Florence D. Schmidt, Mrs. 
Robert Schwarzenbach, the Rev. Theodore Sedgwick, Isaac N. Seligmann, 
Miss Elizabeth Rothwell Shannon, Clarence Bishop Smith, Charles H. 
Strong, Mrs. Charles Truslow, Frank A. Vanderlip, Paul M. Warburg, 
Artemas Ward, Frank B. Wiborg, and Mrs. Edward 's. Woodward. 

Milton Aborn, the manager of the Century Opera Company, 
has been identified with popular priced opera for a number of 
years. He was born in California, one of ten children, and when 
little more than a lad, Milton was associated with his father, who 
had gone into business in 
New Orleans. The family 
was not musical, but his two 
sisters studied music and 
were very fond of opera. 
It was from them that Mil- 
ton Aborn acquired his love 
for opera. His first experi- 
ence on the stage was with 
B. F. Keith at the time that 
manager presented a series 
of tabloid operas in vaude- 
ville. In these Mr. Aborn 
played all the famous Gil- 
bert and Sullivan roles. 
With that company he 
toured the United States, 
playing all the light operas 
in abreviated form. Sargent 
Aborn, his younger brother, 
was at that time also on the 

(.Continued on page mi) MORTON ADKINS 

Baritone, Century Opera Co. 





Photos White 



Mozart Rabiner 
(Leo Donnelly) 



Morris Perlmutler 
(Alexander Carr) 
Act. 1. The partners engage a new travelling salesman 



Abe PDtash 
( Barney Bernard) 




M;iriH'y Bernard Marguerite Anderson Lee Kohlmar Elita Proctor Otis Louise Dresser 

Act 2. Prosperity follows the coming of the new designer 



Alexander Car 




EHta Proctor Otis 



Albert Parker Maud Brownell Barney Bernard ...^.,^, ^. & . 

Act. 3. Potash and Perlmutter see their way to pay 100 cents on the dollar 



Alexander Carr Louise Dresser Marguerite Anderson 



AS everyone knows 
who cares to know, 
the life of a come- 
dian is very hard. Most 
of them", 1 have been told, are trained in infancy. I have no 
training; therefore, I suppose, as Harry Fox says, "It's a gift" 
with me. And yet, the stage manager very often reminds me that 

it isn't; and then I remind him that 

he isn't. However, early in my 
meteoric career, I discovered that an 
audience must be trained to laugh. 
Training an audience is a very dif- 
ferent sort of thing from training 
seals, for instance. If you want a 
seal to laugh, all you have to do is 
to throw him a fish. No audience 
can be trained that way. Some 
comedians have tried to do so with 
fishy stories, but they usually fail. 
Xot that I wish to compare the dear 
public to ordinary seals, but the 
similie occurred to me because I 
once had a dear friend who trained 
seals. He made them do some very- 
funny things, and he had a different 
kind of fish for every seal. 

"You see," he said, "every seal 
has a temperament, and the tempera- 
ment won't work unless they get a 
certain kind of fish. I have tried to 
give them all the same thing, but 
they become sulky and do their work 
without any feeling." 

Of course, he had a great ad- 
vantage, because he had been a sea! 
fisherman himself, and he under- 
stood the nature of the animals. 

The first audience I ever trained 
to laugh, was at a performance I 
gave for a deaf and dumb asylum. 
I made a hit because no one in the 
audience could hear my jokes. It 
was the most difficult test I ever had, 
and proved to me definitely that 
some audiences cannot be trained at all 
to train, or too dull, or quite dead. 

Training audiences is a life work, 
time. It requires patience, confidence, the hide of a rhinoceros, 
and the strength of a high-powered motor. Doctors have asked 
permission to examine me because, after seeing my performance 
they thought my exertions were beyond the power of man. And 
yet, I never touch ginger-ale ; what ginger I have has never been 
bottled. I have gone on the stage, and sung nine songs in suc- 
cession, and felt like a jockey who had won a handicap when T 
got through. There is not much to me, but what there is has 
class. 

An audience of any kind must be made to laugh. You can't 
coax them, and you can't tell them that you're funny unless you 
make them believe it. They just hate to laugh when you want 
them to, and when you want them to cry, they laugh. There 
isn't anything on earth so obstinate and perverse as an audience. 
Most of them are untaught, and although my task has not been 
to educate them, I have sometimes felt that I should like to make 
them realize how happy they would be if they would only just 
try to laugh, just even once. 

My first audiences were in vaudeville. Now, a vaudeville 
audience is not such easy material as it looks. A great many 
night watchmen attend the matinees, and the evening perform- 
ances are filled with tired business men and overworked stenog- 
raphers. I have often wondered if there isn't some sort of 
sleeping potion taken by vaudeville audiences, to pull them 
through the performance. If they were easily taught, every 



By AL JOLSON 




Whi 'c AL JOLSON 

Well-known comedian now appearing in "The Honeymoon Express," 

who enjoys the reputation of being one of the funniest men on 

the stage 



They are either too wild 



You can't do it the first 



comedian would be worth 
a thousand dollars a 
week, and that would be 
too much for the vaude- 
ville managers, because they would have to live in flats them- 
selves, and they wouldn't like it. When I first began my vaude- 
ville work, I used to rely upon the lines of a monologue I had 
_^^^^^^__^^__^^_ l learned, and the words of the songs 

I sang. I found this to be a very 
dangerous way of training an au- 
dience. They were all as different 
as the seals which my friend trained, 
and I quickly realized that they 
wouldn't laugh unless they got the 
right fish. A vaudeville audience in 
Philadelphia, for instance, sees 
nothing to laugh at in a man who 
goes asleep on the stage ; because 
everybody in Philadelphia regards 
sleep as a serious matter. In Pitts- 
burg, for instance, you couldn't give 
them a joke about smoke, because 
they live on it there. So, each 
vaudeville audience I found, had to 
be approached with a sense of what 
their temperaments required. In 
Xew York it was safe to make fun 
of Brooklyn, but in Hoboken yu 
had to make fun of Xew York. 
These little elementary rules of con- 
duct for the vaudeville comedian. 
were good enough in their way how- 
ever, but I soon found that it re- 
quired extraordinary measures to 
make an audience laugh loud. 
Merely a gentle murmur of gig- 
gling laughter, never satisfied me. 
1 made up my mind that I would 
train them to shout, although I was 
not a baseball player. 

I tried various ways to accom- 
plish this. First, I make polite 
little speeches to them, calling 
them ladies and gentlemen, and 
asking them if they wouldn't please laugh all together, instead 
of laughing in small spots in the audience. I spoke to them very 
softly, trying to win their confidence and their respect. This 
method didn't work at all. They seemed indignant that I should 
assume they didn't know how to laugh. You have to be very 
careful in training an audience, because they are very sensitive 
creatures, and are easily offended. Train them with gentleness if 
you can, but if you can't, use a club. When I say "use a club," 
I don't mean that you should inflict bodily -injury, but make 
them realize mentally that they must do as you say no matter 
how they feel. Look them square in the eye, be firm with them, 
and they will sit up and eat out of your hands. After all, dan- 
gerous and cruel as an audience is. you are its superior always 
remember that. 

I sometimes hear of actors who are afraid of an audience. 
Some actors ought to be, I'll admit. I have been myself. But 
an actor without courage, ought to be a college professor, or a 
chemist, or something mild and faithful. I first began training 
my audiences, as I said, by talking to them. Of course, I didn't 
know them, before I talked to them, but I always made it mv 
business to make their acquaintance first. They never said any- 
thing to me, but they had to listen because they couldn't get awav. 
I would first tell them what a wonderful audience they were how 
handsome they were, how beautiful were the women, and how 
sorry I was that T couldn't see them with their hats on. Then T 
would look at the bald-headed gentlemen, and tell them what 
deep respect T had for the distinguished citizens I saw before 
me. Then I'd hunt for a man with a Santa Claus beard and 



7' // / T HE AT RE MAGAZINE 



lonking at him I would recall an incident in the war, in which 
my father had "fit" and fled. If 1 was before a Southern au- 
dience, my father wa? a Southerner; if 1 was before a Northern 
audience, he was a Northerner. If it happened to be a colored 
audience. I spoke of a comrade I had lost in the battle of San 
Juan Hill. By the time I had finished, they were half trained. 
They were sitting up, looking at me, and those who didn't go 
out at once, er.joyed themselves. 

That was in the early days when I was a star feature in the 
-Xickleoaians," when I did twenty-three shows a clay, going as 
fast as a moving- picture machine. I tell you, those old "Nickle- 
o.lian" audiences had to have their money's worth. After all, a 
nickle is a nickle. I can remember the time, when I was getting 
seventy-five dollars a week, I thought of buying a place on Long 
Island next to W. K. Yanderbilt's. I don't think he would have 
had any objection. 

To be sure. I never knew just exactly what I was going 
to say. until I found myself in front of an audience. Of course, 
I had the regular jokes and songs to fall back on, if my brains 
i^ave out, but I noticed that I never 
knew just what I was going to say, 
before 1 said it. If the audience liked 
me, I didn't care how far I went, if 
they didn't like me, I kept going fur- 
ther till they did. The work in vaude- 
ville to train an audience was not so 
hard after I got used to it. But 
when I first began my engage- 
ment on the big stage of the 
Winter Garden in New York, 
I realized the difficulty of 
training any audience above 
42d St. I think from 
St. to J2(\ St. they have 



a Imrse exchange, 
and if you are not 
funny enough to 
make a horse 
laugh, it's very 
hard to get hold 
of the people 
there. But I was 
always game. If it 
was may fate to 
be featured at a 
horse fair, I would 
do my best. 

I have trained a 
great many au- 
diences at the 
Winter Garden, 
and as a whole 
they are verv in- 





Globe 



Copyright, White, 1313 

GABY DESLYS 
To appear in November at the Winter Garden 



all been trained, 
but above that, 
there is still a 
great deal of pio- 
neer work to do 
for the comedian. 
It is not so dif- 
ficult to get hold 
of an audience in 
a small theatre. 
All you have to 
do is to get a large 
grand piano, and 
talk to them till 
they lean over and 
gather a r o u n d 
you. The Winter 
Garden used to be 



Aluiutt JANET BEECHER 
'n "The Great Adventure," at the 
Booth Theatre 

telligent, those of them who 
don't take whiskey. How 
much assistance the lemonade 
which is passed through the 
audience between the acts, 
has been to me, I can't say. 
1 never drank any myself, but I have 
seen some people who looked pretty 
cold after it. I should think, however, 
that a lemonade trust would not be 
successful. All these things which the 
management thoughtfully provides, for 
a helpless audience such as ice water, 
lemonade, fans, programs, advertise- 
ments of the next show, copies of the 

music, opera glasses, cheap candy, cloak room, and foot stools 
for the old ladies are supposed to put them in a pleasant frame 
of mind, so that they won't kill the actors. Personally. I don't 
believe in making an audience too comfortable, especially when 
you are training them 10 laugh. They get sleepy, and the come- 
dian has almost to break his neck to wake them up. I have 
sometimes felt, too, that a man who takes a front seat in the 
front row, for five nights in succession, ought to be fined for 
cruelty. The front row of the Winter Garden at the sacred 
concerts on Sunday has been occupied regularly by a "hymn 
club," who know everything I am going to say and who have 
heard everything I can sing, and whose faces look up at me 
solemnly and sadly as if it were a prayer meeting. Of course, it's 
a good thing for the management, but there is no fun in it for the 
comedian. 

One night, that front row got on my nerves. I came on and 
there they were beautifully lined up in the latest fashion, suck- 
ing their canes, and looking hopeless. (Continued on page i'i) 



lemimi 



(Continued from our last issue) 



TJ I E five years spent in Russia were the happiest of my life. 
Why, then, leave this paradise? Because a land, disturbed 
by politics, is neither safe nor reliable. Long before the 
Emperor's assassination the city was a prey to Nihilism. Every 
day searches were made, streets were turned up, mines discov- 
ered, that would have blown up whole squares, had they not been 
checked in time. At the theatres candles were placed in the halls 
in case the gas should be suddenly extinguished by superior 
order. When the Czar came to the performance we all trembled 
lest something might occur. His assassination was the sad 
climax which justified our fears. 

The Emperor Alexander II was one of the most amiable men 
to meet. He came to the theatre twice a week. I met him for 
the first time while playing Marion de Lorme in the "Comtesse 
de Senneterre." Between the acts he came on the stage and I 
was introduced to him by Baron Kiister. He told me that the 
pla\ pleased him more than twenty years ago, when he had seen 
it with Madame Allan. This was very flattering, as Madame 
Allan was one of the greatest actresses of her day. He went 
on talking for at least ten minutes of plays and players and left 
me. saying: "I will not detain you any longer, Mademoiselle, 
the public may become impatient waiting for its Marion." 

In spite of his noble bearing and his dignified mien, the Czar 
did not inspire me with awe, but with respect and love. That 
he was thoroughly good and magnanimous one could feel. The 
night after the attack on his life by Salovieff he came on the 
stage and gave, 1 may say, a humorous account of the unsuc- 
cessful attempt and when an over-zealous member of the com- 
pany exclaimed. "Oh, Sire, no mercy for such a wretch!" a 
rather severe look of reproach, which we all noticed, was his 
nnlv answer. A word of pity or intercession would have been 
more welcome to his generous heart, especially from a woman. 

He was very fond of comedy and often, about nine o'clock, he 
would take a sudden fancy to attend the theatre, and a drama 
being on the bill, word was sent immediately by a courier of the 
palace to tell us to hurry the drama, so as to be able to play an 
after-piece, which was generally a farce comedy, in which our 
two great comedians. Raynard and Hittemans, took part. Then 
you could hear the Emperor's laugh all over the house. 

Knowing his fondness for comedy we all tried, in order to 
secure his presence, to find a comedy for our benefit. The last 
one I gave was "La Boule." How he enjoyed it ! All the best 
comedians were in the cast. He came on the stage and expressed 
his delight in the kindest terms. He congratulated me on my 
success and said : "Vous ctes toujours charmante, Mademoiselle, 
mais cc soir pins que jamais!" Those were the last words 
the Czar addressed to me. A few days later he was to fall a 
victim to the murderous plots of the Nihilists. 

Shall I ever forget it ? It was on a Sunday, about two o'clock. 
\Ye were rehearsing a new play; some of us were in the green 
room when the Emperor passed, escorted by his Cossacks. We 
were standing at the window and with a smile he gave us the 
military salute we knew so well. He had hardly turned the 
corner when we heard an explosion. We looked at each other 
and the same thought crossed each mind : an attempt on the 
Emperor's life ! We rushed out and arrived at the corner of the 
street just in time to see, two hundred yards from us, the ex- 
plosion of the second bomb, which proved to be the fatal one. 
The first had killed two Cossacks. While they were arresting 
the assassin, the Czar, deaf to the entreaties of his coachman, 
who wanted to drive on with speed, came out of his carriage to 
say one word of sympathy to his dying soldiers. He took their 
hands and addressing their murderer, he said: "Wretch! See 
what you have done in your blind fury." After a last look of 
pity at the faithful servants he was about to re-enter his car- 
riage when a man, standing at the door, dropped another bomb 

Memoirs of Mile. Rhea. Copyright 1IS by Marie Michailoff. 



which he had kept concealed in his handkerchief, and that one 
not only killed the Nihilist himself, but mortally wounded the 
Emperor. In a moment the street, before doi-rU-d. \\as crowded 
with people, coming from every direction. Sleighs were going 
to and fro and all we heard was: "Thank (Jod, the Emperor 
lives!" Mis carriage being damaged he was driven to the palaa 
in a sleigh and expired there a few hours later. His legs had 
been shattered. 

( )n the following day his son was proclaimed Emperor. No 
Mght could have been more heartrending than that of the young 
Czar and his lovely wife, returning in gala dress from the 
Winter Palace, where the new Emperor had just taken the oath. 
On their way to the Palace Annitchkoff, while people cheered 
him and tears were running down the cheeks of the newly made 
Czarina, the Emperor was motioning the crowd to keep silent. 

The body of the Emperor lay in state at the Church of St. 




Matzei.- 



MAGGIE TEYTE AS CKNHUIU.ON 



138 



THE THEATRE MAGAZINE 



Peter and St. Paul in the Fortress on the Neva, where he was 
buried a week later. Thousands of all ranks, including all the 
members of the Court theatres, paid during that week a visit 



"Not at all," answered my friend. "She understands it very 

little, but she has a strong will and 1 am sure she will succeed." 

"But not," said Ryder, "in playing a Shakespearean part in 



to the Fortress and were allowed a last look at the remains of one month, especially without knowing the language." 



him who was, only a few days before, the Czar and all powerful 
ruler of ail the Russias. 



"Will you try?" 

"No ; it is useless, my time is all taken up ; besides, my lessons 



After the fatal event the theatre was closed, but we were still are expensive and it would be robbery to encourage this lady." 



obliged to remain in St. Petersburg until the end of the season. 
Mv contemplated change was now decided. I spoke of it to a 
friend, Mr. Pierre Corvin, author of "The Danischeffs." He sug- 
gested that I study English, and if I were successful, to try my 
fortune in America. 



"Try only once, let us say to-morrow. 1 ' 

After some hesitation he consented. The next day again, at 
eleven o'clock, I was knocking at his door. On entering the 
room I found a rather severe face before me not at all en- 
couraging. I smiled, not to show my agitation, and seated 



But why study English? Why not return to France? Be- myself at a table beside Mr. Ryder, the book of "Much Ado 



cause, like the Americans, I am too independent. I had had 
some experience before going to Russia. I knew that in Paris, 
without strong influence, doors do not open. Furthermore, to 
court influence is like begging and I cannot beg. It is so gratify- 



About Nothing" open before us. He began and I repeated every 
word after him like a schoolgirl. When the hour was over he 
said : 

"Now, my child, you see how difficult and how impossible it 



ing to be able to say when one's task is accomplished : 1 owe is to do what you wish." 



my success to my own untiring efforts, to my courage, to my 
energy, and not to the influence of anybody. But I am not yet 
in America. I am just leaving St. Petersburg for London, 
where I went, determined to renew in another country and in 
another language, the success I had achieved in Russia. 

I arrived in London at the end of April, 1881. Monsieur 
Corvin had spoken to me of an old teacher, Mr. John Ryder, 
who had taught his wife, Mademoiselle Stella Colas, a charming 
French actress, in the part of Juliet. Was this teacher still 
alive? Where was he living? I did not know. I arrived in 
London at seven at night with a friend of mine, a lady who 
was English by birth. She looked at the paper and saw that a 
foreigner, Mme. Modjeska, was playing in the city that night. 
Without changing our travelling dresses we went to the theatre; 
the play was "Romeo and 
Juliet." When I heard that 
foreigner speak so fluently I 
felt quite discouraged. I 
thought I should never be able 
to speak English as she did. 
The friar, Lawrence, was re- 
ceived with a round of ap- 
plause; while listening to him 
I said to my friend : "This is 
a great actor; his pronuncia- 
tion is so distinct, if I cannot 
find Ryder I will go to him." 
We asked for a programme 
and were very much surprised 
to find that Friar Lawrence 
was Ryder himself. We sent 
him a note by the doorkeeper 
and the answer was that he 
would receive me at eleven 
o'clock the next day. You can 
imagine that I was punctual. 
At eleven precisely I knocked 
at his door, 21 Salisbury 
Street, Strand, and went up- 
stairs. I found myself in the 
presence of a man about sev- 
enty years old, very tall and 
with eyes full of fire and intel- 
ligence. My friend told him 
of my desire to learn English, 
to study the part of Beatrice, 
to give a performance of it in 
London within a month, and if 
I succeeded, to devote myself 
to the English stage, if not, to 
return to St. Petersburg. 

"Does she speak English ?" 




"Difficult, yes ; impossible, no !'' said I, with gestures rather 
than with words. 

My friend again intervened and I was allowed to return the 
next day. I need not tell you how I studied. I went over my 
part a hundred times with a patience I could not find again I 
fear. The next morning I took my second lesson and after a 
few words Ryder said : "Capital ! Capital !" Ah ! that "Capital" 
1 shall never forget ! But at the end of the lesson he said : 

"Yes, it is very well, but it is impossible for you to accomplish 
such a difficult task." 

"After a few days' study," I answered, "you will tell me what 
you think, not to-day." 

Every day at the same hour I took my lesson, and from morn- 
ing till night I had my eyes on my book. After a week Ryder, 

with tears in his eyes, took my 
hands and shaking them, in the 
English fashion, said : 

"Well, my child, if you go 
on like this, of course, in a 
month you will be able to play 
Beatrice. I have coached a 
generation of actresses, but I 
have never met one with your 
energy and perseverance." 

Besides my lessons with 
Ryder 3 took another one every 
day from Miss Co wen, a pupil 
of Mrs. Sterling; this one for 
the pronunciation. On Sundays 
I went to church to hear the 
sermons. I attended evening 
classes. I would have done 
anything to attain my object. 

After three weeks I thought 
I was nearly perfect. I had 
been introduced to a family 
very fond of literature. The 
young ladies took such interest 
in me that they came to see 
me every day. One would cor- 
rect my th's, the other my /;'s. 
the last my vowels. Their 
father was a very clever 
reader. One day they pro- 
posed that 1 should recite my 
part to him. He had never 
heard me. I was delighted 
with the idea. . . . Full of 
confidence, I began, one of the 
ladies giving me the cues. The 
father listened without any 
show of approval. When it 



BERTHE LOWELLY AS JUNIA IN MASSENET'S OPERA, "ROMA" 

Mile. Lowelly is now appearing at the Opera Comique, in Paris, and may be seen 

shortly in the United States 



THE THEATRE MAGAZINE 



139 



was over he said (shall I ever forget) : 

"Well, my dear Mademoiselle, I suppose I 
must tell the truth. You have seized the true 
idea of the character of Beatrice, but as to the 
pronunciation, I do not understand one word 
in ten!" 

For the time I was completely crushed by 
that severe remark. But I soon recovered my 
courage. I went home and studied my part 
word for word, repeating each one loud, hard, 
low, soft, in every way, and after six days 
again I repeated my part to my severe judge. 
This time he understood nearly every word and 
predicted a great success. 

In the meantime I had the honor and pleas- 
ure of being introduced to Lady Martin (Helen 
Faucit). With the kindness and generosity of 
a great actress and a true grand lady she in- 
vited me to come and see her the Sunday after- 
noon, just before my performance. She read 
the part of Beatrice to me twice. My eyes, 
my ears, my heart and my soul, hung upon 
every word she uttered. I found a thousand 
shades in that part, which I had not dreamt of. 
and I could fancy what a Beatrice she must 
have been with her tall and noble figure, her 
sweet face and queenly bearing. On my way 
home I tried to remember every word and 
every little expression to impress them in my 
mind. At last the 2d of June arrived, the 
day fixed for my performance. I had hired 
the Gaiety Theatre for a matinee. Mr. Ryder 
had engaged an excellent company. Henry 
Nevill, one of London's best actors, played 
Benedick, and Mr. Ryder himself, Leonato. 
All the actors were as kind as possible. Mr. 
Nevill especially did all he could to assure my 
success. From the rise of the curtain I felt as 
if I were in a fog. I saw nothing, heard 
nothing; but Ryder, who, taking me by the 
hand, said whispered : "Courage !" 

The house was filled with a friendly audience. 
I had invited the press. From beginning to 
end the most encouraging applause, and the 
most beautiful flowers were lavishly bestowed 
upon me. I did not flatter myself that all this 
was an homage to my talent, but only en- 
couragement for my efforts. The day after 
my performance I received the following letter 
from Mr. Edward Pigott, the secretary of the 
Lord Chamberlain. 

DEAR MLI.E. RHA : 

Pray accept my heartiest congratulations on the 
remarkable and deserved success of your presentation 
yesterday at the Gaiety. I had some severely critical 
friends with me, and they were all surprised and delighted at your achieve- 
ment. You were really the ''Beatrice" that Shakespeare created : in face, 
figure, voice, attitude, gestures and demeanor, grace, wit, petulence, tender- 
ness, womanly waywardness, and the strength of womanly devotion, were 
all found in an exquisite impersonation. Above all, the intelligence with 
which you have seized and appropriated all the lights and shades of the 
character, struck my friends as a sort of divination. And the accent 
well, if it left something to be desired was, except once or twice, singu- 
larly clear and just, and was never without charm. 

Believe me, with all good wishes, dear Mile. Rhea, 

Sincerely yours. EDWARD g g p IGOTT 

The next week I received an offer from Mr. Henry Sargent 
to visit America. He told me to go for references to John Mc- 
Cullough, who was then playing an engagement at Drury Lane. 
T found the great tragedian what he was to everybody, a whole- 
souled, kind-hearted man, who T am sure could not have harmed 
an enemy, much less a friend. He praised Mr. Sargent until I 




Moffett 



Now 



HELEN WARE 
appearing as Mary Turner in one of the "Within the Law" companies 

thought him the foremost manager in America. Reiving upon 
his opinion I signed a contract for a tour in the United States. 
He chose for my debut the same plays with which I had opened 
in St. Petersburg, "Camille" and "Adrienne Lecouvreur." But 
this time I had to play them in English. I had studied one part, 
I had exhausted all my energy in that one effort ; another seemed 
beyond my power. After a few days, however, the reaction 
came, and with it, confidence and courage. I remained in 
London until the end of July and again had the pleasure of 
meeting Lady Martin. 

When the London season was over I went to Folkestone, and 
there, by the seaside every morning, beginning at nine o'clock, I 
studied for hours on the beach, far away from the fashionable 
crowd, or in the country, where solitude was greater. What 
difficulties 1 still had to overcome ! What patience it required ! 
Sometimes 1 would repeat a sentence over again until my mouth 



140 



THE 11 Il : . AT RE MAGAZINE 



ached and tears of despair filled my eyes, but I was determined. 
The pronunciation was especially hard to master. Hercules' feats 
seemed child's play compared to my labor. As the time for my 
departure approached I went to Paris, ordered some beautiful 
dresses, and in October I sailed for America on the City of 
Rome, and after one of the roughest journeys I ever experienced 
landed safe in New York. 

The City of New York appeared to me a mixture of French 




Strauss-Peyton 



and English, but I was impressed at once with the beautiful 
women. The American woman has a style of her own. Wher- 
ever she goes she carries an atmosphere of independence, which 
is at the same time the envy and the despair of all foreigners, 
because it cannot be acquired ; it is born with her and is inimita- 
ble. She is daring, but not bold; and I must say, to her credit, 
that I have never found in her the meanness toward her sex 
that is characteristic of women in any other countries. She 
admires women and praises them without any feeling of envy 
or jealousy; she is noble-hearted, and if she were a little less 
fickle, she would be perfection. But, after all, is not that little 
fault an additional charm? America is proud of her daughters 
and she may well be. As for the men, I have found friends the 
like of whom I would vainly look for in the old world. I have 
already said that it was Mr. Sargent who brought me over. 
After four weeks' trial I left him and accepted an offer from 
Mr. Arthur B. Chase. 

Mr. Chase was the business man par excellence. He had 
money, he was orderly, he was practical, he had a level head 
and he was lucky. Although I am not superstitious, I believe in 
luck as he did himself. He had the tact always of doing the 
right thing at the right time. Although very quiet, very retiring, 
almost bashful, he inspired trust and confidence. He was most 
considerate and attentive to my wants. It was under his man- 
agement that I achieved my greatest success and met, for the 
first time, some of America's prominent people in the world of 
letters, politics and society. 

One of my most cherished recollections is my visit to Long- 
fellow. I was introduced to him by his cousin, Mr. Nathan 
Appleton. during my engagement in Boston. How often are we 
disappointed in meeting celebrated people. We place them cm 
so high a pedestal in our imagination, surround them with a half) 
so radiant that when we meet the body of flesh and blood which 
envelopes the superior mind that has attracted our fancy, moved 
our hearts and carried us to an ideal world far beyond this earth, 
a pang of regret takes the place of our fanatical enthusiasm. 
Xot so with Longfellow. The cottage where he lived was the 
very one a poet should inhabit ; his surroundings were a mirror 
of himself. T can see him now, greeting me with a smile that 
lighted a face so pure, so noble, so full of human kindness, that 
F could not help thinking : "This, indeed, is one of nature's 
noblemen." Ah ! I wish I had his pen to trace his portrait ! 
His long white hair was falling on his shoulders, his voice was 
soft and musical and his cordiality genial and sincere. He 
spoke French fluently and this, to me, was one more charm. 
When I told him that one of the first English poems I had 
studied was "The Maiden and the Weathercock," he asked me 
to recite it to him ; I did so, and immediately he went to his 
library and taking down two volumes of his poems, he wrote his 
name on the flyleaf of one, and in the other, underneath the 
poem, and presented them to me. 1 need not say that they are 
first among the many souvenirs I treasure in my home. 

It was while playing at the Boston Museum with the stock- 
company that I had the pleasure of meeting and acting with Mr. 
William Warren. I played Lady Teazle to his Sir Peter. What 
shall I say of him that America does not know ? He was per- 
fection, both as a man and as an actor. 

In Washington President Arthur himself did me the honor of 
showing me through the White House, and with Mrs. McKee I 
visited that brightest and liveliest room under General Harrison's 
Presidency : the nursery, where I saw those sweet babies, who in 
their unconscious innocence, little suspected that they were the 
talk of the United States and that their ways and sayings were 
reported in the papers between a speech of their grandfather 
and a grave financial or political question. Mrs. Harrison was 
one of the kindest women I ever met. She often came to the 
theatre with the President, and on one occasion, having been 
prevented at the last moment from attending my performance, 
she sent me a basket of beautiful flowers with a long letter of 
regret, which T appreciated more than any royal gift. 



VALESKA SURATT 
Who is appearing in a new spectacular act in vaudeville 



THE THEATRE MAGAZINE ADVERTISER 



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THE THEATRE MAGAZINE ADVERTISER 



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Training An Audience, Etc. 

(Continued from page 136) 



In desperation I sat on the edge of the foot- 
lights, dangled my legs over the orchestra pit, 
and threw up my hands. I didn't care what hap- 
pened to me. Suddenly I discovered that I had 
a collar on that was just like a collar one of the 
"hymn club" was wearing, and I just took hold 
of it and ripped it off my neck. This woke them 
up. They thought I had gone suddenly insane, 
and felt that they were going to get their money's 
worth. 

As a matter of fact, I liked them all very 
much, but it was too much of a strain to keep 
thinking up new things to make them laugh. 
Training a Winter Garden audience, however, 
has become my specialty. How I succeeded in 
doing it I don't know. 

I have often come off the stage wet to the 
skin with perspiration. Any actor knows what 
hard work that means. The best laughs I have 
ever had have been the result of spontaneous 
ideas, that have come to me on the spur of the 
moment. 

And the trouble is that I never could remember 
just how these things have been said afterwards. 
As the point of the joke depends almost entirely 
upon the exact wording, I have lost a good many 
laughs which I might have put in for my regular 
performances if I could remember them. I really 
never know what I am going to say. I remember 
once when I was appearing with Stella Mayhew. 

She said to me, "Where is my husband?" 

"He is soused," I said. 

She was quite indignant, because she thought I 
meant it. Of course, he wasn't soused, but I 
couldn't explain that to the audience, it was too 
late. I should have said he was "drowned." 

I think I am the first comedian who ever had 
the nerve to run up and down the aisles singing 
a song. I was offered a chance to enter a Mara- 
thon race after I first did my stunt of singing 
Rum-tum-tiddle as fast as I could run. The 
danger which any comedian runs by mingling 
with the audience is that some one will hit him 
in the head with a brick if you give him a 
chance. That was the principal reason why I 
ran so fast. They couldn't get me in one place 
long enough to strike. The only thing I have 
really lost sometimes is my voice. For six weeks 
last season it was a shame to take the money. 
My voice went back on me, but I kept on playing, 
doing the best I could. 

This year I sang the Rosary for the first 
time, and people believed me. Now, that's what 
I call training an audience to do whatever you 
tell them to. When I sang the Rosary they ap- 
plauded as if I had been Caruso; when I sang 
Rum-tum-tiddle they enjoyed it just as much. 
I have got them trained ; they dare not applaud. 

I can't explain it, excepting in the words of my 
philosophic friend, Harry Fox "It's a gift." 

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THE THEATRE MAGAZINE ADVERTISER 



VII 



Popular Opera, Etc, 

(Continued from page 132) 



stage ; and when Milton decided to go out with 
his = own company Sargent joined him, taking 
charge of the financial end of the venture. They 
started out on a modest scale. From comic operas 
they proceeded to "Trovatore," and gradually 
added more works to the repertoire. At tht 
present the Aborns have no fewer than eight 
opera companies on the road. 

Mr. Aborn, when seen by a representative of 
THE THEATRE MAGAZINE, said he was more than 
encouraged by the outlook. 

"The public response has been most gratifying," 
he said. "We shall continue to do our utmost 
to realize the expectations formed of our enter- 
prise. Neither the Metropolitan nor we will 
suffer from the fact that we are both in the same 
field. There is room for both. We are catering 
to those who are pretty sure to be in their seats 
when the curtain rises on the first act that is to 
say, the great body of American music lovers. 
Our endeavor is to give fine music since we know 
that real music lovers are those generally de- 
barred from the high-priced houses, both by the 
price of admission and the fashionable element 
that generally predominates there. 

''In choosing our artists we have selected, for 
the most part, ambitious young singers whose 
reputations lay ahead instead of behind them. 
We have found some in Europe, and the rest 
have been engaged in America. Although we 
have not restricted ourselves to any particular 
nationality, it happens that the majority of our 
singers are Americans." 

Mr. Aborn is very enthusiastic over his chorus. 

"In my opinion," he said, "the chorus is the 
most important factor in opera. A prima donna 
may be a failure and the opera keep going to a 
successful close if only the chorus is brilliant 
enough. From the chorus come many stars. Real 
talent never stays hidden long. In our chorus 
we have fifty-two men and fifty-five girls. In 
tonal quality this chorus is beyond anything I 
have ever heard. The girls range in age from 
18 to 26. and they have splendid voices. Most 
of them are American girls, who have been 
studying singing in New York. Of the fifty-five 
girls fully thirty-five have it in them to make 
successful singers in concert work or opera, and 
we have a plan which may help girls or men with 
real talent to find themselves. We shall rehearse 
six sets of principals in operas, and then, with 
the advantage of our chorus and orchestra, pre- 
sent them in special, invited performances. If 
the Century Opera Company is to be the perman- 
ent institution we hope, this plan will play a big 
part in our constant search for new and fresh 
material." 

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Author of "The Lure 1 

(Continued from page 135) 



meanwhile. Thence the perfection of his style, 
and the small number of his books. Mark Twain 
needed, positively needed, the atmosphere of his 
little garden-house and tha company of his pipe 
to compose those incomparable things we know. 
George Scarborough needs, positively needs, a 
desk with any number of pigeon-holes. For, un- 
like Flaubert, he does not generally concentrate 
on one single work. He handles several subjects 
at a time, and when he gets tired of one, he 
shoves the manuscript into a pigeon-hole and lets 
it stay there, until his interest in that particular 
theme is revived. One morning he may have 
been writing just such a scene as the one that 
closes the big act of "The Lure" so dramatically, 
and in the afternoon he may feel irresistibly in- 
clined to add a new scene to a farce that he 
hasn't looked at for weeks. What a curious 
mechanism is the human brain ! 

F. C. FAY. 




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Cabaret Booking Agency 

(Cunl iinu'it fi-'fin page 130) 



to-day? Hello, Mabel." He suddenly catches 
sight of her talking to her gaily bedecked com- 
panion, and gives her a grin intended to be a 
friendly smile. The Agent always smiles at 
Mabel. She is one of his cleverest cabaret per- 
formers, that is, she is more brazen, wears less 
clothes, has a lustier shout (it can hardly be 
called a voice) and uses more paint than the 
others. The commissions on her $20 and $25 
engagements are larger in proportion to those of 
the others, whose salaries are smaller. Also, 
she is seldom out of work a single day, so her 
commissions are more regular. The Agent can 
afford to smile on Mabel. 

"Well, Mabel," he says in jocular strain, "how 
did you make out last night?" 

"Punk!" is Mabel's explosive rejoinder. Im- 
pudently she goes on : "Don't send me to a place 
like that again, or there'll be somethin' doin'. 
That's not a cabaret. It's a canning factory, 
that's what it is." 

A shout of approval goes up from the ranks. 
Mabel is a favorite with them all, and no one 
but she dares talk to the Agent in that familiar 
manner. 

"Well, we'll cut that fellow out," says the 
Agent, trying to pacify her. ''Say, how would 
you like a job as combination in Sheehans', up- 
town? Good place, and say He leans for- 
ward, puts his hand up to the side of his mouth 
and winks mysteriously : "You can double your 
salary on the floor there any night. That's the 
place for tips, all right!" 

"Combination?" she yawns languidly. "Oh, 
well, I'll try it." 

For the enlightment of the uninitiated, it should 
be explained that the term "combination" does 
not apply necessarily to a certain dainty article 
of feminine apparel. In agency vernacular, it 
means a singer who can play her own accompani- 
ments a combination singer and piano player. 

Mabel gets up to go. She, the lucky one, does 
not have to wait long. Her job is found. On 
the way out, she accosts a confrere with a re- 
sounding slap on the back and a hearty "Hello, 
kid !" Then, sobering up, she asks him seriously, 
"Say, did you hear the news?" 

"What newsT" 

"Don't you k.. iw about it? Flossy just told 
me. You remember Big Nell that great, big 
combination with a voice like a man's? Well, 
she's dead, killed by a Third Avenue car the 
other night. She was pickled, tried to cross the 
street and got mixed up with the car." 

'Ts that so? Aw, well, I knew she'd go off 
soon. She was an awful souse." 

"She was all right, though. Best pal and big- 
gest heart you ever saw. Why, she'd give the 
shirt off her back, if she thought you needed it." 

"Did she leave any folks?" 

"Her little girl's in a convent. She hadn't seen 
her since she left her home in the South, five 
years ago. Gee! it makes you blue to think of 
it ! Her husband left her five years ago. Then 
she came up here to New York to work. She 
uster drink to forget her troubles, she said, an' 
now ' 

"Call No. 2,887" 

And so it goes. 



Sothern and Marlowe 

(Continued from page 12S) 



When writing to advertisers, kindly mention THE THEATRE MAGAZINE 



from spontaneities that one knows not where to 
have them, and where he meant to write "in- 
genuous" scribbles "exotic" or vice versa. In the 
trial scene she is superficially less effective: her 
elocution is subdued into harmony with the 
severer lines and graver colorings of her dress. 
She is proof against those temptations to by-play 
and side-glance which at one point overcame 
even Shakespeare, and I think her credit as an 
artist materially strengthened by her refusal to 
be engaging where to be engaging was so very 
tempting and so very wrong. She indemnifies 
herself and the audience by the unforeseen but 
not unpleasing romp of the last act. 

I have never quite recovered from my surprise 
at finding myself relatively unmoved by Miss 
Marlowe's Viola, a part clearly in the tribe, and 
normally, one would think, in the household of 
her confessed masterpieces. On first view I 
called her an odalisque, and I still note in the 
work an excess of muskiness. The allowance for 
circumstance has been imperfect, and the supple- 
ness and sinuosity proper enough to great ladies 
like Beatrice and Portia in their sheltered draw- 
ing-rooms cannot be safely or readily transferred 
to a supposed boy and an actual messenger. 



THE THEATRE MAGAZINE ADVERTISER 



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Viola's boyishness is purely sartorial, and not 
strong even in that aspect. Otherwise she is 
oversexed : she is more innocent than the pos- 
sessors of innocence ever are, and her malice 
toward women would alone divulge her woman- 
hood. The most typical speech in Miss Marlowe's 
presentation, the soliloquy in Act II, Scene II 
(printed version) brings out, in spite of all its 
dove-like meekness and creamy smoothness of 
elocution, the irrepressible fact that Viola is at 
heart a little baggage. For all this the sometime 
lodger with Christopher Mountjoy is not re- 
sponsible. There are certainly two contrasted 
atmospheres in "Twelfth Night," one of salt, sea- 
like freshness and one of dreamy exotic languor, 
but Viola entered the play from the sea-beach. 

The Rosalind is not liable to these censures, 
and ranks clearly among her fine parts. I do 
not know if I can explain to the comprehension 
and satisfaction of others just why the abun- 
dance of particular felicities and the rarity of 
individual mistakes in this happy representation 
fail to persuade me of its claim to a place on 
quite the same level with the Beatrice and the 
Portia. The obvious infractions of taste are 
dexterously avoided. The part is not mannish nor 
hoydenish nor smartish nor anything else to which 
that disfiguring suffix can be honestly applied by 
fair-minded critics. Where, then, lies the flaw? 
Not precisely in the fact that Miss Marlowe plays 
the part with unwonted rapidity, indicative of 
a judicious wish to offset the undoubted slackness 
of the dramatic movement in "As You Like It"; 
but this circumstance has aided the general treat- 
ment in imparting to the final effect a trace of 
giddiness and headiness which suggests that 
Rosalind could have played Touchstone almost as 
sympathetically as Ganymede, and makes the 
spectator forecast for the complacent Orlando an 
ultimate nervous breakdown. One is doubly con- 
cerned at such a prospect, when the Orlando is 
Mr. Frederick Lewis, an actor whose charm re- 
fuses to be effaced even by approximation to 
Miss Marlowe. 

I shall not have the merit, or the peril, of 
standing alone in the assignment to Miss Mar- 
lowe's Beatrice of the first place in the list of 
her famous Shakespearean impersonations. No- 
where else is she equally happy in that modelling 
I have mentioned before that parting and di- 
versifying of the speech or sentence which mul- 
tiplies profile in relation to substance, and gives 
to the whole word-group the crisp contours of a 
leaf-edge. The improvement on the textual 
Beatrice is unmistakable. The Beatrice who 
comes to us via the printer is a determined young 
woman who labors at the humiliation of Bene- 
dick with a crude energy suggestive of the old- 
fashioned pedagogue in the conscientious applica- 
tion of the birch. In Miss Marlowe's rendering, 
everything is tentative, vibratory, pendulous; in- 
tentions last ten seconds : not a phrase but is a 
venture, an impromptu, a tempting of providence. 
She dallies, she temporizes, with her own thought 
and speech. She has wisps of scorn, jets of 
vivacity, abrupt despairs, headlong candors, ini- 
mitable lassitudes ; she rises into seriousness 
without effort or pretense, but she cannot keep the 
sparkle out of her tears. Most captivating of all 
perhaps are light strokes of melancholy elegance 
or pensive poetry scattered with happy daring 
and wise parsimony over a surface otherwise al- 
most trying in its brilliancy. The splendor of 
life is hardly less dominant in the representation 
than the iridescence of wit: humor seems but 
a spray on the crest 6f joy, and joy itself but a 
wave on the shimmering surface of a perennial 
and abounding vitality. 

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{Continued from page 115) 



not amusing sentiment the play would be sordid 
indeed, but every time a dollar is mentioned or is 
concerned there is something amusing about it. 

Abe Potash and Mawruss Perlmutter conduct 
a wholesale cloak and suit department. They 
have bills coming in that they have to put off. 
They have a large correspondence with people 
hard to get money out of. They have trouble 
with their union workmen. When they change 
to more expensive quarters in order to improve 
business their comical troubles increase, so that 
the bond they have to go on is in danger of put- 
ting them out of business. Surely there could 
be nothing more comic than that. At all events, 
it is very amusing when it happens to Potash and 
Perlmutter. When they are in their greatest diffi- 
culties they expect to have an interview from 
a very wealthy philanthropist, from whom, inci- 
dentally, they hope to get some money. A man is 
ushered in and received by them with a show of 




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adulation. Potash vies with Perlmutter in offer- 
ing him cigars, and the scene proceeds until the 
man turns to a leather map which he has brought 
with him and offers to show them a book which 
he is selling. It is needless to say that Potash 
again vies with Perlmutter in the attention they 
now give to this intruder, who is promptly thrown 
out. The next caller is the rich philanthropist. 
The momentary doubt upon receiving him is as 
deliriously droll as anything in the play. It is 
plain to see that Mr. Alexander Carr and Mr. 
Barney Bernard have done quite as much to 
convert the material into amusing consistency as 
either Mr. Montague Glass or the adapter. Alex- 
ander Carr and Barney Bernard are true come- 
dians. The play is an actor's play. They make 
every point. The cast is a good one, having 
among others, Joseph Kilgour, Elita Proctor Otis 
and Louise Dresser. 

COMEDY. "HER OWN MONEY." Play in three 
acts by Mark E. Swan. Produced on September 
1st with this cast: 

Lewis Alden, Sydney Booth; Mary Alden, Julia Dean; 
Mildred Carr, Louise Grassier; Tommy Hazleton, Ernest 
Glendinning; Harvey Beecher, George Hassell; Clara 
Beecher, Beverly Sitgreaves; Rhoda, Maude Durand. 

In "Her Own Money," Mr. Swan is not entirely 
at his ease in the handling of the case, so that 
the play declines, at the end, to the familiar and 
conventional sentimental reconciliation between a 
man and wife who had been parted by circum- 
stances growing out of her attempt clandestinely 
to help her husband out of a financial embarrass- 
ment with "her own money." The subject of the 
play is the right of a wife to have some share 
in her husband's money. This wife, chafing 
under the requirement that she must always ask 
her husband for the money she needs, skimps and 
saves out of a weekly allowance the sum of two 
thousand dollars. She enlists the services of a 
man, the husband of a neighbor, to lend this 
money, as if it were his own to the husband. 
Misunderstandings and jealousies all around 
ensue. The husband finally returns to her, after 
he had repaid the money, and after she had 
bought a chicken farm with "her own money." 
The economical wife is cleverly played by Julia 
Dean; the nagging wife, jealous of her own hus- 
band who had acted the intermediary, by Beverly 
Sitgreaves, a clever and sympathetic actress ; the 
husband who reconsiders, by Sidney Booth; the 
nagged at husband who lends himself and the 
other woman's money, by George Hassell. The 
play was a production by Mr. Ames, and staged 
by George Forster Platt. 



PLAYHOUSE. "THE FAMILY CUPBOARD." 
Play in four acts by Owen Davis. Produced on 
August 2ist with this cast: 

Charles Nelson, William Morris; Mrs. Nelson, Olive 
Harper Thome; Alice Nelson, Alice Brady; Kenneth 
Nelson, Forrest Winant; Kitty May, Irene Fenwick; 
Mrs. Clement Harding, Ruth Benson; Thomas Harding, 
Douglas J. Wood; Mary Burk, Alice Lindahl; Mrs. Win- 
throp, Irene Romaine; Lawrence Winthrop, Harry Red- 
ding; Dick Le Roy, Franklyn Ardell; Jim Garrity, Frank 
Hatch; Potter, Wallace Erskine; Telephone Operator, 
Louise Aichel; Elevator Boy, Barney Johnson. 

Mr. Owen Davis, long successful in melodramas 
of the outworn sort, and known to be anxious to 
free himself from work of that sort and establish 
himself in consideration as an author capable of 
better things, has succeeded to the fullest extent 
in "The Family Cupboard." It is hardly a play 
of significance, although its first purpose seemed 
to be a discussion of social and domestic condi- 
tions of the day. We first see the family in a 
bad way, except for the daughter, who is un- 
touched by any of the tendencies belonging to 
fashion and money. The wife gives her whole 
time to bridge, and is so seldom at home that her 
husband does not have any of her companionship, 
in consequence of which, not finding a home to 
come to after business hours, he spends his time 
at the club, and finally maintains an independent 
establishment with a vaudeville actress. The son 
often stays out all night, and one morning he 
comes back home intoxicated. His father re- 
proves him, when the boy turns on him and 
charges him with having a mistress. His mother 
overhears this and the family is broken up. 
Therafter, the play concerns the infatuation of 
the boy for a girl, who really is the discarded 
mistress of his father ; and it is the final rescue 
of this boy from his infatuation that really con- 
stitutes the play. The story of an infatuated and 
foolish boy would seem to be a serious matter, 
hardly productive of amusement, but we have a 
picture of life so full of character and incidental 
humor that it is really comedy. The serious side 
of it is not altogether neglected, for the faithful 
services of the old family servant, while the boy 
is wasting his life in his bachelor quarters, have 
moments of very honest sentiment. The comedy 
is not objectionable, for it is a revelation of char- 
acter and life that does not fail to interest the 
audience. The girl, who has misled the boy into 
believing that she is innocent, would have en- 
trapped him into a marriage if his resources of 



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XI 



money had not run out. It may be sordid humor, 
but her attitude toward him in the varied cir- 
cumstances, is so true to life that we are inter- 
ested. Her father is a cab driver. Of course, his 
deference to his daughter who has got on in the 
world is sordid, but nevertheless he is a char- 
acter that you have not seen on the stage before, 
and you will find his discussion of the competiton 
of the taxi diverting. Again, it cannot be denied 
that the vaudeville performer with whom the 
girl leaves, in order to do a sketch with him on 
the "big little time" is an amusing person. Cer- 
tainly these three people are immoral, but they 
are following their natures, and they are not 
aggressively offensive. This character, Dick Le 
Roy, is played by Franklyn Ardell. The success 
of a play often depends on particular people in 
the cast, and Ardell is a fortunate find, of the 
sort that managers are always looking about for. 
If his tango dancing and ragtime playing were 
forced interpolations, his performance would cer- 
tainly be ineffective, but he is the very spirit of 
irresponsible gaiety. The girl is well played by 
Irene Fenwick; the cab driver by Frank Hatch. 
The serious part of the play is well acted by 
William Morris, as the husband and father, by 
Olive Harper Thorn, as the mother and wife, 
and by Alice Brady, as the daughter. 



CRITERION. "WHO'S WHO?" Farce in three 
acts by Richard Harding Davis. Produced on 
September nth with this cast: 

Lester Ford, William Collier; Cliff Cooper, William 
Frederic; "Stumps," B. B. Melville; Bucky Bates, Nicho- 
las Judels; Arizona Kid, Geo. White; Judge Holt, Grant 
Stewart; Graham Fiske, Edward Lester; Squire Cobb, 
C. D. Clarke; Don Quince, John Adam; "Pop" Perry, 
Nicholas Burnham; Detective Fallon, Frederick Conklin; 
"Tad" Ford, William Collier, Jr.; Aline Ford, Paula 
Marr; Sarah Cooper, Grace Griswold; Poly Perry, Leigh 
Wyant; Alfalfa Fanny, Dorothy Unger. 

In the very nature of the case, with the com- 
bination of faculties and energies, a play by 
Richard Harding Davis, with the acting and 
stage management of William Collier, could not 
be devoid of comedy, novelty and effect ; but 
"Who's Who?" lacks the compactness and sub- 
stance to take its place with the other prolonged 
successes of author and actor. The play has its 
moments of drollery, but the story of it is con- 
fused and insufficient. It would not be easy in- 
telligibly to recount the story. A timid tender- 
fnot ("William Collier) is living the life of a 
cowboy in a Western town, and like many of its 
people, is in hiding. His horse and trappings had 
been stolen by a train robber, who had been 
killed, but this tenderfoot, who was supposed to 
have been killed, cannot return to civilization be- 
cause of the danger of the penitentiary. He is 
induced to return in order to save an attorney 
from trouble because of his misuse of funds. The 
story here is altogether obscure. The tender- 
foot's return to civilization, after a long absence, 
brings him into contact with village people, with 
amusing scenes, until finally everything is cleared 
up. The play is really made up of false situations 
which afford opportunities for a great deal of 
comedy in minor characters, all of it contributory 
to the inevitable and peculiar comedy business of 
William Collier. The opening scene of the play 
is a novel effect. It is a dance hall in the West- 
ern town, where there are moving-pictures and 
dancing. The woman who conducts the place in- 
sists on it that the tenderfoot shall marry her. 
He is too timid to make much resistance, and 
when the lawyer comes and makes his proposi- 
tion, the tenderfoot is glad of the opportunity for 
escape. If it were worth while, many ingenious 
effects and situations might be described, but the 
play is made up of bits of acting and moments 
of comedy, amusing business and bright lines, 
the whole not affording a real play. 



LONGACRE. "ADF.LE." Musical comedy in 
three acts. Book by Paul Herve, music by Jean 
Briquet, English version by Adolf Philipp and 
Edward A. Paulton. Produced on August 28th 
with this cast: 

Baron Charles, Hal Forde; "Robert Friebur, Craufurd 
Kent; Henri Parmaceau, Will Danforth; Alfred Friebur, 
Dallas Welford; Jacques, H. C. Bradley; Louis Papricot. 
Michael Ring; Gaston Neuilly, E. H. Barlab; Arrnond 
Cartouche. Henry Ward; Francois. Charles Frye; Pierre, 
Edward Woster; Adele, Natalie Alt; Mme. de Neuville, 
Georgia Caine; Babiole, Edith Bradford; Violette, Jane 
Hall; Gerrnaine. Betty Brewster; Gabrielle, Grace Wal- 
ton; Faustina, Jane Warrington; Therese, Estelle Rich- 
mond; Pauline, Helen May; Henrette, Edna Doddsworth; 
Georgette, Alice York. 

The management of the Longacre Theatre an- 
nounces that it has in reserve a series of musical 
comedy productions. They are not likely to be 
needed, for, unless all signs fail, "Adele," the 
present offering, should run out the season. New 
Yorkers are accustomed to the transplanted Eng- 
lish piece of this description with its interpolated 
Metropolitan colloquialisms. They have been 
fairly inundated with the Viennese school since 
Lehar's phenomenal success with "The Merry 




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Widow." Now it has something different to deal 
with. France is responsible for the score of this 
new piece in the person of Jean Briquet, whose 
melodic accompaniment to the action of "Alma, 
Where Do You Live?" is gratefully remembered. 
M. Briquet has great faculty of composition. His 
themes are not only musical in value, but are 
worked out in a neat workmanlike manner. He 
is almost Mendelssohnian in his orchestral treat- 
ment. Strings and wood winds he uses almost 
to the total exclusion of the brass. The score 
of "Adele" is most grateful to the ear. In fact, 
the whole production is one of the neatest, 
daintiest, prettiest and satisfying that the local 
hoards have staged in many a year. There is no 
horse play. The comedy is legitimate and works 
naturally out from the action of the piece. There 
is dainty sentiment and a plot which may be 
summed up in the two lines : "he fell in love 
with his wife" and "she fell in love with her hus- 
band." 

The son and daughter of two rival manufac- 
turers are in love with each other, but meet the 
usual parental opposition. It is arranged that 
Adele shall marry the Baron de Chantilly, secure 
a divorce; being then independent in the eyes of 
the law, she may then marry the man of her 
heart, Robert Friebur. So far so good, but the 
ceremony celebrated, Adele and her new husband 
do not find it so easy to part. 

Adolf Philipp, the German comedian, and Ed- 
ward A. Paulton are responsible for the English 
book founded on the original by Paul Herve; 
while Ben Teal has staged the piece with that 
artistic originality and finish that so marks his 
work. The sartorially impressive Arthur Weld 
conducts. 

There is a real operatic find in Miss Natalie 
Alt, who plays the title role. Not only is her 
singing excellent, but her acting most finished. 
'I hen, too, she has youth, beauty and refinement. 
Hal Forde is equally good as the Baron. Robert 
is nicely played by Craufurd Kent, and Georgia 
Caine enacts with authoritative ease and distinc- 
tion Mme. de Neuville, a Parisian exotic. The 
bourgeois fathers are most amusingly presented 
by Will Danforth and Dallas Welford. Then 
there is a feminine chorus. Only eight of them ; 
but each a star in the firmament of pulchritude, 
gowned with becoming richness and taste. The 
admiration of the men, the envy of the women. 



NEW AMSTERDAM. "SWEETHEARTS." Op- 
eretta in two acts. Music by Victor Herbert, book 
by Harry B. Smith and Fred de Gresac, lyrics by 
Robert B. Smith. Produced on September 8th 
with this cast : 

Sylvia, Christie MacDonald; Dame Paula, Ethel Du 
Fre Houston; Lizette. Nellie McCoy; Clairette, Cecilia 
Hoffman; Babette. Edith Allen; Jeanette, Gertrude Rudd; 
Toinette, Gene Peltier; Nanette, Gretchen Hartman; 
Mikel Mikeloviz, Tom MacNaughton; Franz, Thomas 
Conkey; Lieutenant Karl, Edwin Wilson; Hon. Percy 
Slingsby, Lionel Walsh; Petrus Van Tromp, Frank Bel- 
cher; Aristide Caniche, Robert O'Connor; Liane, Hazel 
Kirke; Captain Lourent, Briggs French. 

Star and management are often feazed by a big 
success. To find a successor to something which 
has satisfied both press and public is not always 
an easy matter. So it was that Messrs. Werba 
and Leuscher had to bestir themselves to find a 
suitable medium for the display of Christie Mac- 
Donald's engaging qualities when "The Spring 
Maid" had outlived its usefulness. Victor Her- 
bert was the composer called upon to equal Rein- 
hard's beautiful and bewitching score while the 
ubiquitous Smiths. Harry B. and Robert B., aided 
and abetted by Fred de Gresac (Miss Victor 
Maurel) were called upon to furnish an entertain- 
ing and picturesque book. "Sweethearts" is the 
title of this new combination, and, by-the-by, why 
should Gilbert's classic be robbed of its name? 
Still, it is not necessary to worry on that score, 
for that little idyll of youth and age will long 
outlive the new production at the New Amster- 
dam Theatre. 

Herbert never fails to provide a score that is 
not interesting. The present one is considerably 
above his melodious average. It gives evidence 
of loving and careful composition. It is har- 
moniously tuneful throughout and orchestrated 
with particular ingenuity and comprehensive de- 
tail. It has a waltz refrain that is particularly 
haunting and some numbers, especially the finale 
to the first act, that is almost grand opera in its 
ambitious quality. But both score and book are 
too long. Each one benefit by liberable excision. 

Miss MacDonald has a role that suits her en- 
gaging personality to the utmost. It is that of 
Sylvia, an adopted daughter of a Dutch laundress. 
The girl was found as an infant in a tulip bed. 
Of course, she is a Princess and the efforts of a 
quartet, in the know, to profit by this informa- 
tion provides most of the plot and comic action. 
Then, of course, there is a real Prince, who 
finally wins her hand and there you have the 
romantic interest. Nothing startliiigly new, but 
serviceable and effective. The production is 
beautifully lavish and rich; the stage manage- 



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Xlll 



ment capable and the chorus a combination of 
pretty women and good-looking men, who can 
and do sing with vocal skill and fine volume of 
tone. The comic honors fall to Tom McNaugh- 
ton. whose dry methods find ample outlet as 
Mikel Mikeloviz. McNaughton is a finished fun 
maker. At times he is screamingly funny. There 
should be more of him. Lionel Walsh as a silly 
ass deserves high praise for his rendering of 
/ Don't Know How I Do It But I Do, and a 
very volatile and graceful Lieutenant is acted, 
sung and danced with admirable skill by Edwin 
\Vil<on. Thomas Conkey sings the Prince. He 
has a nice voice and a presence which fits well 
the royal requirements. 



GLOBE. "THE DOLL GIRL." Musical play in 
three acts by Leo Stein and A. M. Willner; 
music by Leo Fall; English book and lyrics by 
Harry B. Smith, founded on a comedy by A. do 
Caillavet and R. de Flers. Produced on August 
251)1 with this' cast : 

Marqirs de la Tourelle, Richard Carle; Tiborius, Rober 
Evett; Romeo Talmi, Will West; Buflton, Charles Mc- 
Naughton; Daudalon, Ralph Nairn; Marcel. Carl C. Judd; 
Pierre, Victor Le Roy; Rosalilla, Hattie Williams; Mmc 
Prunier. Cheridah Simpson; Yvette, Dorothy Webb; 
Mile. Poche, Emily Francis; Madame Merlin, Clara Eck 
Strom; Madame Bichon, Letha Walters; Mme. La'irent. 
Marion Mosby; Toto, Veronique Banner; Heloise, Veoln 
Harty; Cora. Florence Brodbelt; Belle, Helen Dudley 
Francine. Barbara Bel Babas; Suzette, Alice Palrrcr: 
Lily, Lilian Leroy; Perinne, Edith Hardlow. 

'J heatregoers seeking a clean, wholesome show, 
with tuneful music, pretty girls, plenty of comedy 
and several clever people to put these things over. 
will find "The Doll Girl," at the Globe Theatre, 
to their liking. The score, by Leo Fall, is gay 
and lilting, and ripples with delightful melody; 
the librettists, Messrs. Leo Stein and A. M. Will- 
ner, have devised a plot that affords pleniy of 
opportunity for the principals. There is nothing 
stnkingly new in the story which has lo do with 
a little French country maiden, her doll and an 
aristocratic swee'heart. After a series of ad- 
ventures caused by the interference of the latter's 
rascally uncle, the lovers finally triumph in the 
conventional manner, but the piece is so bright, 
so full of clever fooling, so well presented, that 
it cannot fail to please. 

Miss Hattie Williams is excellent as the 
Spanish actress who. in love vvith a flirtatious 
marquis, assumes various disguises to test his 
faithfulness. She is particularly felicitous in her 
song. Come on Over Here, one of the catchiest 
numbers of the piece, and also in a love scene 
with the marquis which is so strenuous an exhibi- 
tion of genuine affection, that the poor victim 
cries out: "This isn't love, it's massage!" Mr. 
Richard Carle, as the marquis, ambles through 
the piece in his own inimitable manner. Dorothy 
Webb plays with vivacity the part of the doll 
girl, and Robert Evett as Tiborius, the love-sick 
young nobleman, acts well, and sings even better. 
Cheridah Simpson makes the most of her part as 
Madame Prunier, the doll girl's aunt, and deserves 
praise for her commendable singing of Now and 
Then. Will West is funny in the role of a 
theatrical manager. 



CASINO "LIEBER AUGUSTIN." Operetta in 
three acts by Leo Fall ; American version and 
lyrics by Edgar Smith. Produced on September 
6th with this cast : 

Jasomir, Arthur Cunningham; Sigiloff, Wilmuth Merkyl; 
Anna, Grace Field; Marguerita, Vera Dunn; Gretchen. 
Peggy Caudrey; Ursula, Mona Sartoris; Lisbeth, Edn? 
Stillwell; Juro. Frank Farrington; Bogumil, De Wolf 
Hopper; Augustin Hoffer, George MacFarlane; Princess 
Helen, May De Sousa; Captain Pips, Viola Gillette: 
Prince Nikola, Fred Leslie; Clementine. Roszika Dolly; 
Col. Burko, Jack Evans; Mattoeus, Wilmuth Merkyl. 

With such favorites as De Wolf Hopper and 
fiforge MacFarlane heading the cast, it would be 
impossible for any operetta to fail in arousing the 
enthusiasm of an audience. Add to this a tuneful 
score, and the elaborate staging and beautiful 
costumes characteristic of a Shubert production, 
and the present vogue of "Lieber Augustin" is 
fully accounted for. Of the book not so much 
can be said. The story is as conventional as that 
nf most musical pieces. It has to do with the 
romance of an impoverished princess and a man 
of lower station. The solution to the problem 
suggests itself from the beginning, which, almost 
identical with Gilbert and Sullivan's "Pinafore." 
is traced back to a mix-up of babies. De Wolf 
1 f onper as Bogumil, uncle to the Princess, plays 
with his usual delicious humor, and is funniest 
when he departs from his given lines. George 
MacFarlane sings well, and May De Sousa is 
pretty and dainty as the princess, while a word 
"f [iraise is due to Grace Field and Roszika Dolly. 
The music, by Leo Fall, is pleasing and contains 
several numbers of insistent melodiousness. 



LYRIC "WHEN- DREAMS COME TRUE." Mu- 
sical comedy in three acts. Book and lyrics by 
Hiiliji I'artholomae. music by Silvio Hein. Pro- 
duced nn August i8th with this cast: 



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This is the romance in letters of a man and a woman, extremely intelligent 
and accustomed to analyzing themselves, as Stendhal and Paul Bourget would 
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the letters of the man, true or almost true, hardly arranged, were written by Guy de Maupassant? 

"I do not think it is wrong to be so indiscreet. One must admire the feminine delicacy with which 
the letters were reinforced, if one may use this expression, f like the book, and it seems to me it will 
have a place in the collection, so voluminous already, of modern ways of love." 



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The American 
Playwright 

Edited by WILLIAM T. PRICE 

( Author o* " The Technique of the Drama " 
and " Th Analysis of Play Construction.") 

A MONTHLY devoted to 
^\ the scientific discussion 
of Plays and Playwriting. 
1 5 cents a copy. $ 1 .5 a year. 
Vol. II begins Jan. 15, 1913. 
Write for specimen copies and 
for the Index of Vol. I. 

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you how to procure the printed 
Volumes of the Academic 
Course in Playwriting, deliver- 
ed complete, on a first payment 
of Three Dollars. Address 

W. T. PRICE 

1440 Broadway NEW YORK CITY 



Sailor, Thomas Aiken; Hermann, Otto Shrader; Sara- 
noff, Saranoff; Mrs. Hopkins-Davis-Story, Ann Mooney; 
Hercules Strong, Edward Garvie; Kean Hedges, Joseph 
Santley; Beth, Marie Flynn; Mrs. William Smith, Amelia 
Summerville; Margaret Smith, Ann Wheaton; Griggs, 
Clyde Hunnewell; Jerome K. Hedges, Frazer Coulter; 
Denny, Donald MacDonald; Matilda, May Yokes. 

What a wonderful thing is youth! Few can 
withstand its charm and freshness, while all are 
ready to forgive its ingenuous mistakes, and 
childish follies. "When Dreams Come True" 
represents juvenilia in its most advanced form. 
Joseph Santley, a clever, good-looking young man. 
plays the part of Kean Hedges, a rich man's son, 
who has squandered all his money in Paris on a 
dancer. His home-coming in the steerage of an 
ocean liner gives occasion for an effective open- 
ing scene. Here, among the haughty first cabin 
passengers, Kean sees his dream-maiden. She 
gets tangled up in a smuggling scheme, innocently 
of course, is vindicated through the efforts of the 
hero, spends the night in his rooms while he is 
busy dodging a detective, appears the following 
morning before his astonished family and is 
passed off by Kean as his country cousin, who is 
expected to arrive that day. Meanwhile, the real 
country cousin, grotesquely and delightfully 
played by the inimitable May Yokes, is projected 
into the scene, and the confusion that follows is 
relieved by the introduction of numerous songs, 
dances and comedy bits. The atmosphere eventu- 
ally clears amid a profusion of "Bless you my 
children," wedding bells, and tango. Besides the 
featured players, Joseph Santley and May Yokes, 
special mention is due to Marie Flynn, whose 
charming singing is one of the pleasant bits of 
the piece, and to Anna Wheaton and Donald 
MacDonald, who act and dance with vivacity. 
Edward Garvie, as the "suspicious" detective, 
puffed through the piece with explosive sighs that 
suggested a steam engine. The music, by Sylvio 
Hein, is particularly good especially the Dream 
Song, which promises to become one of the popu- 
lar "hits" of the season. In the song, Come 
Along, Come Along, to the Movies, Dear, a hu- 
morous and original bit of pantomime is intro- 
duced. 

HIPPODROME. "AMERICA." Conceived by 
Arthur Voegtlin, music and lyrics by Manuel 
Klein, drama by John P. Wilson. Produced on 
August 30th with this cast: 

Macklin Haywod, Albert Froome; "Slippery Sam" 
Croker, James Redman; Lieut. Frank Forsythe, W. C. 
Reid; Captain Wilkes, H. L. Jackson; Vivian Phillips, 
Maybelle McDonald; Jason Sellers, Felix Haney; A 
Yokel, Harry La Pearl; Sallie Perkins, Nellie Doner; 
Lucy Mortimer, Elsie Baird; Samantha Stubs. Irene 
Ward; John Strong, John Foster; Detective Scalds, Jack 
Warren; John, E. P. Parsons; Mrs. Beacon-Hill, Mar- 
garet Crawford; Train Caller, Alex Craig; Professor 
Strunz, Harold A. Robe; Columbus, George Adams; 
Indian Chief, Sa Ko En Te Tha; Mandy, Mina Chap- 
man; Flash Negro, John Fleming; Mammy, Stanley Fer- 
guson; Barber, Spook Hanson; American. Tommy Mul- 
lins; Con Carrie Vendor, Angel Barbara; Shellfish Ven- 
dor, Harry La Pearl. 

Each new season the am